绘画的实践与科学

THE PRACTICE AND SCIENCE OF DRAWING

一、简介

I INTRODUCTION

艺术家作品中最好的东西很大程度上是直觉的问题，以至于对于完全阻碍艺术家对艺术现象进行智力探究的观点有很多话可说。直觉是一种害羞的东西，如果观察得太仔细，很容易消失。毫无疑问，存在这样一种危险：太多的知识和训练可能会取代学生自然的直觉，而只留下对表达方式的冰冷的了解。对于艺术家来说，如果他身上有正确的东西，那么在做出最好的作品时，他就会有一种意识，正如拉斯金所说，“不是在他身上，而是通过他”。可以说，他只是这一思想得以表达的代理人。

THE best things in an artist’s work are so much a matter of intuition, that there is much to be said for the point of view that would altogether discourage intellectual inquiry into artistic phenomena on the part of the artist. Intuitions are shy things and apt to disappear if looked into too closely. And there is undoubtedly a danger that too much knowledge and training may supplant the natural intuitive feeling of a student, leaving only a cold knowledge of the means of expression in its place. For the artist, if he has the right stuff in him, has a consciousness, in doing his best work, of something, as Ruskin has said, “ not in him but through him.” He has been, as it were, but the agent through which it has found expression.

天赋可以被描述为“我们拥有的东西”，天才可以被描述为“我们拥有的东西”。现在，尽管我们可能无法控制这种“拥有我们”的力量，尽管最好毫无保留地屈服于它的影响，但毫无疑问，艺术家的职责就是照顾它。他的才能得以充分发展，使他能够成为表达他所要表达的事物的合适工具；然而，必须由他的个人气质来决定对艺术真正的难以捉摸的事物进行智力分析的程度是明智的。

Talent can be described as “ that which we have,” and Genius as “ that which has us.” Now, although we may have little control over this power that “ has us,” and although it may be as well to abandon oneself unreservedly to its influence, there can be little doubt as to its being the business of the artist to see to it that his talent be so developed, that he may prove a fit instrument for the expression of whatever it may be given him to express; while it must be left to his individual temperament to decide how far it is advisable to pursue any intellectual analysis of the elusive things that are the true matter of art.

如果学生认识到这一点，艺术训练只能解决表达手段的完善，艺术的真正问题在此之上，超出了教学的范围，那么他就不能有太多。因为，尽管在影响他的影响面前，他一定是个孩子，但如果他不具备成年人的知识，就脱下外衣，开始绘画或绘画，那么他就没有足够的能力使它们成为一种艺术。以适当的形式向他人传达他可能希望表达的事物的手段。只有当艺术家的创作本能有一个组织良好的执行能力可供支配时，艺术中才能完成伟大的事情。

Provided the student realises this, and that art training can only deal with the perfecting of a means of expression and that the real matter of art lies above this and is beyond the scope of teaching, he cannot have too much of it. For although he must ever be a child before the influences that move him, if it is not with the knowledge of the grown man that he takes off his coat and approaches the craft of painting or drawing, he will be poorly equipped to make them a means of conveying to others in adequate form the things he may wish to express. Great things are only done in art when the creative instinct of the artist has a well-organised executive faculty at its disposal.

绘画技术研究可以分为两个部分，即形式和色彩，在本书中我们只关注形式。但在进入我们直接的主题之前，应该先谈谈艺术的本质，并不是想在短短的一章中得出任何最终结果，而只是为了给出一种观点的想法。为了避免误解，写了以下几页。

Of the two divisions into which the technical study of painting can be divided, namely Form and Colour, we are concerned in this book with Form alone. But before proceeding to our immediate subject, something should be said as to the nature of art generally, not with the ambition of arriving at any final result in a short chapter, but merely in order to give an idea of the point of view from which the following pages are written, so that misunderstandings may be avoided.

存在的各种定义值得进行一些探究。以下是我想到的一些：

The variety of definitions that exist justifies some inquiry. The following are a few that come to mind:

但是建筑呢？还是音乐？然后是莫里斯的

But what of architecture? Or music? Then there is Morris’s

但这不适用于音乐和诗歌。安德鲁·朗的

But this does not apply to music and poetry. Andrew Lang’s

似乎过于宽泛而难以掌握，而托尔斯泰的

seems too broad to catch hold of, while Tolstoy’s

更接近事实，涵盖了所有艺术，但从它省略节奏的任何提及来看，似乎非常不足。

is nearer the truth, and covers all the arts, but seems, from its omitting any mention of rhythm, very inadequate.

现在，生活的事实通过我们的感官传达到我们内心的意识，并刺激构成我们现实生活的思想和情感世界。思想和感觉是紧密相连的，我们的心理知觉，特别是当我们第一次意识到它们时，很少有感觉没有伴随。但有一个普遍的划分，一个极端是我们所说的纯粹智力，另一个极端是纯粹的感觉或情感。我认为，艺术是表达这种心理活动的情感方面的一种手段，它通常与更纯粹的智力方面密切相关。这种感觉中更感性的一面可能是最低的，而与智力相关的感觉，即逃避纯粹智力的感知的小敏感性，可能是其最高尚的体验。

Now the facts of life are conveyed by our senses to the consciousness within us, and stimulate the world of thought and feeling that constitutes our real life. Thought and feeling are very intimately connected, few of our mental perceptions, particularly when they first dawn upon us, being unaccompanied by some feeling. But there is this general division to be made, on one extreme of which is what we call pure intellect, and on the other pure feeling or emotion. The arts, I take it, are a means of giving expression to the emotional side of this mental activity, intimately related as it often is to the more purely intellectual side. The more sensual side of this feeling is perhaps its lowest, while the feelings associated with the intelligence, the little sensitivenesses of perception that escape pure intellect, are possibly its noblest experiences.

纯粹的智力力求根据感官带给我们意识的事实来构建一个精确测量的现象世界，不受我们每个人体内的人类方程式的影响。它试图创造一种超越人类立场的观点，一种更加稳定和准确的观点，不受人类生活不断变化的潮流的影响。因此，它发明了机械仪器来测量我们的感官知觉，因为它们的记录比人类的独立观察更准确。

Pure intellect seeks to construct from the facts brought to our consciousness by the senses, an accurately measured world of phenomena, uncoloured by the human equation in each of us. It seeks to create a point of view outside the human standpoint, one more stable and accurate, unaffected by the ever-changing current of human life. It therefore invents mechanical instruments to do the measuring of our sense perceptions, as their records are more accurate than human observation unaided.

但是，虽然在科学中，通过使用机械仪器来记录事实，观察变得更加有效，但艺术所处理的事实，即感觉的事实，只能由感觉仪器——人——来记录，而完全被任何机械仪器所忽略。设计了替代品。

But while in science observation is made much more effective by the use of mechanical instruments in registering facts, the facts with which art deals, being those of feeling, can only be recorded by the feeling instrument—man, and are entirely missed by any mechanically devised substitutes.

艺术智慧对从机械精度的角度来看的事物不感兴趣，而是对观察对生命意识——我们每个人中有感知的个体——的影响感兴趣。同一事实由多个艺术智慧准确描述的情况在每种情况下应该是不同的，而同一事实由多个科学智慧准确表达的情况应该是相同的。

The artistic intelligence is not interested in things from this standpoint of mechanical accuracy, but in the effect of observation on the living consciousness—the sentient individual in each of us. The same fact accurately portrayed by a number of artistic intelligences should be different in each case, whereas the same fact accurately expressed by a number of scientific intelligences should be the same.

但除了与广泛的经验相关的感受之外，每种艺术还具有属于与其相关的特定感官知觉的某些情感。也就是说，有些东西是只有音乐才能传达的：与声音有关的东西；与声音有关的东西；其他只有绘画、雕塑或建筑才能传达的内容：那些与它们各自处理的形式和颜色相关的内容。

But besides the feelings connected with a wide range of experience, each art has certain emotions belonging to the particular sense perceptions connected with it. That is to say, there are some that only music can convey: those connected with sound; others that only painting, sculpture, or architecture can convey: those connected with the form and colour that they severally deal with.

在抽象的形式和颜色中，即与自然外观无关的形式和颜色中，存在着一种情感力量，就像音乐中的情感力量一样，音乐的声音与自然界中的任何事物没有直接联系，而只与我们所感知的神秘感觉有关。具有和谐感、美感或节奏感（同一事物的所有三个但不同的方面）。

In abstract form and colour—that is, form and colour unconnected with natural appearances—there is an emotional power, such as there is in music, the sounds of which have no direct connection with anything in nature, but only with that mysterious sense we have, the sense of Harmony, Beauty, or Rhythm (all three but different aspects of the same thing).

这种内在的感觉是一个非常显着的事实，并且在某种程度上可以在所有种族，当然是所有文明种族中找到。当像中国人和日本人这样的偏远民族的艺术被理解时，我们的和谐感就会非常一致。尽管他们的艺术发展路线与我们的艺术有很大不同，但当对其新颖性的惊讶逐渐消退并且我们开始理解它时，我们发现它符合非常相同的和谐感。

This inner sense is a very remarkable fact, and will be found to some extent in all, certainly all civilised, races. And when the art of a remote people like the Chinese and Japanese is understood, our senses of harmony are found to be wonderfully in agreement. Despite the fact that their art has developed on lines widely different from our own, none the less, when the surprise at its newness has worn off and we begin to understand it, we find it conforms to very much the same sense of harmony.

但除了与表达方式直接相关的情感之外，所有艺术在其最深刻的表达方面似乎有很多共同点。我们的内心生活似乎有一个共同的中心，它们都吸引着我们。可能在这个中心是所有人类共有的伟大的原始情感。宗教团体，人们在思考宇宙的伟大奥秘以及面对宇宙的浩瀚时自己的渺小时所感受到的深深的敬畏和崇敬——渴望与自己之外的事物建立联系并发展关系，而这些事物被认为是背后和通过的万物。然后还有那些与生命的喜悦、伟大生命精神的悸动、存在的快乐、两性的欲望有关的东西；以及那些与死亡和腐烂的悲伤和神秘有关的人，等等。

But apart from the feelings connected directly with the means of expression, there appears to be much in common between all the arts in their most profound expression; there seems to be a common centre in our inner life that they all appeal to. Possibly at this centre are the great primitive emotions common to all men. The religious group, the deep awe and reverence men feel when contemplating the great mystery of the Universe and their own littleness in the face of its vastness —the desire to correspond and develop relationship with the something outside themselves that is felt to be behind and through all things. Then there are those connected with the joy of life, the throbbing of the great life spirit, the gladness of being, the desire of the sexes; and also those connected with the sadness and mystery of death and decay, &c.

然而，艺术的技术方面并不关心这些更深层次的动机，而是关心它们通过其表达的感觉事物。就绘画而言，是可见的宇宙。

The technical side of an art is, however, not concerned with these deeper motives but with the things of sense through which they find expression; in the case of painting, the visible universe.

无论如何，艺术家都有能力通过所看到的一切事物来激发艺术表现力；对他来说，没有什么不妥的。伟大的照片描绘了穿着漂亮衣服的漂亮人和穿着丑陋衣服的邋遢人、美丽的建筑和穷人丑陋的茅屋。画阿尔卑斯山的画家也画了大西部铁路。

The artist is capable of being stimulated to artistic expression by all things seen, no matter what; to him nothing comes amiss. Great pictures have been made of beautiful people in beautiful clothes and of squalid people in ugly clothes, of beautiful architectural buildings and the ugly hovels of the poor. And the same painter who painted the Alps painted the Great Western Railway.

对于艺术家来说，可见的世界可以说是一件美妙的衣服，有时向他揭示一切事物中存在的彼岸和内在真理。他意识到与可见事物另一面的某种东西有某种对应关系，并通过它们隐约感觉到，这是一种“静止的、微小的声音”，他被迫向人类解释这种声音。我认为我们将这种无所不在的内在意义的表达视为美，这促使济慈说：

The visible world is to the artist, as it were, a wonderful garment, at times revealing to him the Beyond, the Inner Truth there is in all things. He has a consciousness of some correspondence with something the other side of visible things and dimly felt through them, a “ still, small voice ” which he is impelled to interpret to man. It is the expression of this all-pervading inner significance that I think we recognise as beauty, and that prompted Keats to say:

因此，对真理的热爱和对美的热爱可以在艺术家的作品中同时存在。寻找这种内在的真理就是寻找美。人们的视野没有超越​​平凡的狭隘范围，对他们来说，卷心菜只是一种庸俗的蔬菜，如果他们看到一幅美丽的画，他们会感到惊讶，并说艺术家把它理想化了，这意味着他已经把它理想化了。有意识地改变其在某些理想主义公式上的表现；而他可能只是诚实地表达了比他们意识到的更真实、更深刻的愿景。平凡并不是对事物的真实看法，而只是肤浅的看法。

And hence it is that the love of truth and the love of beauty can exist together in the work of the artist. The search for this inner truth is the search for beauty. People whose vision does not penetrate beyond the narrow limits of the commonplace, and to whom a cabbage is but a vulgar vegetable, are surprised if they see a beautiful picture painted of one, and say that the artist has idealised it, meaning that he has consciously altered its appearance on some idealistic formula; whereas he has probably only honestly given expression to a truer, deeper vision than they had been aware of. The commonplace is not the true, but only the shallow, view of things.

板II

Plate II

版权照片，Braun & Co.

Copyright photo, Braun & Co.

莱昂纳多·达·芬奇的绘画，来自温莎皇家收藏

DRAWING BY LEONARDO DA VINCI FROM THE ROYAL COLLECTION AT WINDSOR

板块三

Plate III

学习“四月”

STUDY FOR “APRIL”

用红色粉笔在彩色纸上绘制。

In red chalk on toned paper.

弗罗芒坦表达了同样的想法，正是这一点赋予了艺术在人类作品中的崇高地位。

Fromentin’s expresses the same idea, and it is this that gives to art its high place among the works of man.

美丽的事物似乎使我们与一个更加完美的世界相呼应，并带来比这种不完美的生活似乎能够自行产生的更深的平静。我认为，我们的平静时刻总是与某种形式的美联系在一起，这种内在的和谐火花与某种无限的外在源泉相对应。就像航海者的罗盘一样，我们焦躁不安，直到我们在这一方向找到休息为止。在美丽的时刻（因为严格来说，美是一种精神状态，而不是某些物体的属性，尽管某些事物比其他事物更具有诱导美的力量），我们似乎瞥见了事物背后更深层次的真相的意义。谁能说，这种感觉对我们大多数人来说已经足够迟钝了，它不是事物另一面存在的更大和谐的回声，我们通过它们隐约感觉到，尽管它是回避的。

Beautiful things seem to put us in correspondence with a world the harmonies of which are more perfect, and bring a deeper peace than this imperfect life seems capable of yielding of itself. Our moments of peace are, I think, always associated with some form of beauty, of this spark of harmony within corresponding with some infinite source without. Like a mariner’s compass, we are restless until we find repose in this one direction. In moments of beauty (for beauty is, strictly speaking, a state of mind rather than an attribute of certain objects, although certain things have the power of inducing it more than others) we seem to get a glimpse of this deeper truth behind the things of sense. And who can say but that this sense, dull enough in most of us, is not an echo of a greater harmony existing somewhere the other side of things, that we dimly feel through them, evasive though it is.

但我们必须在这些稀缺地区谨慎行事，并转向更实际的问题。通过在他的作品中寻找并强调视觉外观中表达这些更深刻事物的元素，画家能够激发他人对它们的感知。

But we must tread lightly in these rarefied regions and get on to more practical concerns. By finding and emphasising in his work those elements in visual appearances that express these profounder things, the painter is enabled to stimulate the perception of them in others.

例如，在描绘一座美丽的山峰时，除了其形式和色彩的韵律美之外，还有触动我们本性更深层次的联想——与它的大小、年龄和持久性等相关的联想。; 无论如何，我们的感受比形状和颜色本身所能唤起的要多。如果画家本能地选择那些传达这些感觉的形式和色彩元素，那么他就必须感受到这些东西，并且他的画是在这些感觉的影响下绘制的。这种更深层次的情感甚至与单纯的形式和色彩之美也有着密切的联系，画家无法忽视它们。再多的技术知识也无法取代感觉，也无法指导画家如此确定地选择什么是好的。

In the representation of a fine mountain, for instance, there are, besides all its rhythmic beauty of form and colour, associations touching deeper chords in our natures—associations connected with its size, age, and permanence, &c. ; at any rate we have more feelings than form and colour of themselves are capable of arousing. And these things must be felt by the painter, and his picture painted under the influence of these feelings, if he is instinctively to select those elements of form and colour that convey them. Such deeper feelings are far too intimately associated even with the finer beauties of mere form and colour for the painter to be able to neglect them; no amount of technical knowledge will take the place of feeling, or direct the painter so surely in his selection of what is fine.

有人会说：“这很好，但画家关心的是形式、色彩和颜料，而不是别的。” 如果他从这个角度忠实地描绘这座山，就会向那些想要它们的人暗示所有这些其他的联想。” 还有一些人会说，外表的形式和颜色只是作为一种语言来表达所有人共同的情感。“为艺术而艺术”和“为主题而艺术”。有这两种极端的立场需要考虑，这取决于个人的工作属于哪一边。他的兴趣更多地集中在美学方面，集中在与形式和颜色直接相关的感觉上；或者根据他的气质，在与外表有关的心理联想方面。但任何一个立场都不能忽视对方而不会造成致命的损失。形式和色彩的画面永远无法摆脱与视觉事物的联系，全为主体的画面也无法摆脱其形式和色彩。说“如果他从形式和色彩的角度忠实地描绘这座山，它就会向那些想要它们的人暗示所有其他联想”，这是错误的，除非，就像一个头脑简单的画家可能会不自觉地被更深层次的情感所感动，并在只意识到自己的绘画的情况下被迫选择有意义的事物。但他的画很可能会传达他正在思考的事情，因此，他不会以山的雄伟给我们留下深刻的印象，而是会说类似“看看我是多么聪明的画家！”之类的话。除非艺术家是在场景能够产生的更深层次情感的影响下画出他的画，否则当人们观看他的作品时，不太可能会留下如此深刻的印象。

There are those who would say, “ This is all very well, but the painter’s concern is with form and colour and paint, and nothing else. If he paints the mountain faithfully from that point of view, it will suggest all these other associations to those who want them.” And others who would say that the form and colour of appearances are only to be used as a language to give expression to the feelings common to all men. “ Art for art’s sake ” and “ Art for subject’s sake.” There are these two extreme positions to consider, and it will depend on the individual on which side his work lies. His interest will be more on the aesthetic side, in the feelings directly concerned with form and colour; or on the side of the mental associations connected with appearances, according to his temperament. But neither position can neglect the other without fatal loss. The picture of form and colour will never be able to escape the associations connected with visual things, neither will the picture all for subject be able to get away from its form and colour. And it is wrong to say “If he paints the mountain faithfully from the form and colour point of view it will suggest all those other associations to those who want them,” unless, as is possible with a simple-minded painter, he be unconsciously moved by deeper feelings, and impelled to select the significant things while only conscious of his paint. But the chances are that his picture will convey the things he was thinking about, and, in consequence, instead of impressing us with the grandeur of the mountain, will say something very like “ See what a clever painter I am!” Unless the artist has painted his picture under the influence of the deeper feelings the scene was capable of producing, it is not likely anybody will be so impressed when they look at his work.

而画家对题材的崇高理想深深感动，却忽视了表达这些理想的形式和色彩，就会发现他的作品无法令人信服。非物质只能通过艺术中的物质来表达，而要传达微妙而难以捉摸的意义，画面的绘画符号必须非常完美。如果他不能画出我们山的平常面，又怎么能指望画出山的更深层次的表现呢？事实是，这两种立场都是不完整的。在所有优秀的艺术中，所表达的内容及其表达方式是如此密切，以至于合而为一。与山相关的更深层次的联系对于艺术来说只是重要的，因为它们影响山的外观，并在艺术家的脑海中形成形式和色彩，影响整个绘画过程，甚至笔触。就像在一首好诗中一样，不可能脱离表达它的词语来考虑诗意：它们在创作时一起被激发。

And the painter deeply moved with high ideals as to subject matter, who neglects the form and colour through which he is expressing them, will find that his work has failed to be convincing. The immaterial can only be expressed through the material in art, and the painted symbols of the picture must be very perfect if subtle and elusive meanings are to be conveyed. If he cannot paint the commonplace aspect of our mountain, how can he expect to paint any expression of the deeper things in it? The fact is, both positions are incomplete. In all good art the matter expressed and the manner of its expression are so intimate as to have become one. The deeper associations connected with the mountain are only matters for art in so far as they affect its appearance and take shape as form and colour in the mind of the artist, informing the whole process of the painting, even to the brush strokes. As in a good poem, it is impossible to consider the poetic idea apart from the words that express it: they are fired together at its creation.

现在，通过我们不同的感官知觉进行的表达并不构成艺术，或者那个男孩大声喊叫，表达他对生活的喜悦，但发出可怕的噪音，将是一位艺术家。如果他的表达要足以将他的感受传达给别人，就必须有一些安排。表达必须是有序的、有节奏的，或者任何最能恰当地表达那些有意识或无意识的力量观念的词语，这些力量选择和安排艺术的感性材料，通过将其与我们的联系起来，从而给人留下最深刻的印象。与生俱来的和谐感。如果我们能找到一个涵盖所有艺术的粗略定义，它将帮助我们了解绘画中那些使其成为艺术的东西的方向。认为绘画是“通过色彩或多或少完美地再现自然物体的作品”这一并不罕见的想法是行不通的。并虔诚地希望科学能够最终完善彩色摄影方法，以消除这种幻想。

Now an expression by means of one of our different sense perceptions does not constitute art, or the boy shouting at the top of his voice, giving expression to his delight in life but making a horrible noise, would be an artist. If his expression is to be adequate to convey his feeling to others, there must be some arrangement. The expression must be ordered, rhythmic, or whatever word most fitly conveys the idea of those powers, conscious or unconscious, that select and arrange the sensuous material of art, so as to make the most telling impression, by bringing it into relation with our innate sense of harmony. If we can find a rough definition that will include all the arts, it will help us to see in what direction lie those things in painting that make it an art. The not uncommon idea, that painting is “ the production by means of colours of more or less perfect representations of natural objects ” will not do. And it is devoutly to be hoped that science will perfect a method of colour photography finally to dispel this illusion.

那么，什么可以作为有效的定义呢？一定有某种关于情感的东西，是每个人内心都隐藏着的个性的表达；自我的表达，感知我们周围的生活现象并被其感动。另一方面，还有一些关于其表达顺序的问题。

What, then, will serve as a working definition? There must be something about feeling, the expression of that individuality the secret of which everyone carries in himself; the expression of that ego that perceives and is moved by the phenomena of life around us. And, on the other hand, something about the ordering of its expression.

但谁知道有什么词语可以准​​确地表达这种微妙的事情呢？如果说“艺术是生命的有节奏的表达，或者是情感意识，或者是感觉”，那都是不够的。也许“生命的韵律表达”才是更完美的定义。但“生命”这个词在大众心目中更多地与饮食相关，而不是与精神、力量或任何你喜欢称呼的东西联系在一起，它存在于意识背后，是我们整个存在的活力因素，它几乎不会起到有用的作用。因此，也许，对于一个粗略的、实用的定义来说，至少可以指出通常被视为艺术的机械表演，“情感的节奏表达”就可以了：因为节奏意味着艺术材料的排序（就绘画而言，形式和颜色）以便将它们与我们天生的和谐感联系起来，从而赋予它们表现力。如果没有这种关系，我们就没有直接的方法来使艺术的感性材料在其他人中引起回应。那个大声喊叫、发出可怕声音的男孩不是艺术家，因为他的表达不充分——与赋予表现力的潜在和谐感无关。

But who knows of words that can convey a just idea of such subtle matter? If one says “ Art is the rhythmic expression of Life, or emotional consciousness, or feeling,” all are inadequate. Perhaps the “ rhythmic expression of life ” would be the more perfect definition. But the word “ life ” is so much more associated with eating and drinking in the popular mind, than with the spirit or force or whatever you care to call it, that exists behind consciousness and is the animating factor of our whole being, that it will hardly serve a useful purpose. So that, perhaps, for a rough, practical definition that will at least point away from the mechanical performances that so often pass for art, “ the Rhythmic expression of Feeling ” will do: for by Rhythm is meant that ordering of the materials of art (form and colour, in the case of painting) so as to bring them into relationship with our innate sense of harmony which gives them their expressive power. Without this relationship we have no direct means of making the sensuous material of art awaken an answering echo in others. The boy shouting at the top of his voice, making a horrible noise, was not an artist because his expression was inadequate—was not related to the underlying sense of harmony that would have given it expressive power.

让我们用一些简单的案例来测试这个定义。这是一个野蛮人，狂喜地大喊大叫，挥舞着胳膊和腿。他不是艺术家，尽管他可能会被生活和情感所感动。但是，如果让这种喊叫按照某种有序的计划进行，以表达喜悦和喜悦的节奏进行，并且他的腿和手臂运动也受其控制，那么他就成为了一名艺术家，并且唱歌和跳舞（可能是最古老的艺术）将导致。

Let us test this definition with some simple cases. Here is a savage, shouting and flinging his arms and legs about in wild delight; he is not an artist, although he may be moved by life and feeling. But let this shouting be done on some ordered plan, to a rhythm expressive of joy and delight, and his leg and arm movements governed by it also, and he has become an artist, and singing and dancing (possibly the oldest of the arts) will result.

或者以一个人为例，他被自己所看到的事物深深感动，比如一个被野兽杀死的人，他希望告诉他的朋友。如果他只是按照他所看到的事实来解释，而不费力地组织他的言语，以便给听众留下最深刻的印象，并向他们传达他内心激起的某种感情，如果他仅仅这样做，他就不是艺术家，尽管讲述这样一个可怕的事件可能会令人感动。但当他安排自己的语言，不仅以一种生动的方式传达了简单的事实，而且还传达了他所经历的可怕的感觉时，他就成为了一位艺术家。如果他进一步将他的语言安排成有节奏的节拍，一种与他的主题相一致的节拍，他就会变得更加艺术化，一种原始的诗歌形式就会产生。

Or take the case of one who has been deeply moved by something he has seen, say a man killed by a wild beast, which he wishes to tell his friends. If he just explains the facts as he saw them, making no effort to order his words so as to make the most telling impression upon his hearers and convey to them something of the feelings that are stirring in him, if he merely does this, he is not an artist, although the recital of such a terrible incident may be moving. But the moment he arranges his words so as to convey in a telling manner not only the plain facts, but the horrible feelings he experienced at the sight, he has become an artist. And if he further orders his words to a rhythmic beat, a beat in sympathy with his subject, he has become still more artistic, and a primitive form of poetry will result.

或者在建造一座小屋时，只要一个人只对事情的功利性方面感兴趣，就像今天的许多建筑者一样，并且只是建造墙壁，因为他需要保护自己免受野兽的侵害，并且需要一个屋顶来阻挡雨，他还不是一个艺术家。但当他开始带着某种感觉考虑他的作品，并安排墙壁和屋顶的相对尺寸，使它们符合他对美丽比例的某种感觉时，他就成了一名艺术家，他的小屋也有一些建筑上的自负。现在，如果他的小屋是木头的，并且他对它进行了油漆以保护它免受自然因素的影响，那么就没有必要做任何艺术创作。但如果他选择的颜色在排列中给他带来乐趣，如果他的色团所呈现的形式是带着某种个人感觉设计的，那么他就发明了一种原始的装饰形式。

Or in building a hut, so long as a man is interested solely in the utilitarian side of the matter, as are so many builders to-day, and just puts up walls as he needs protection from wild beasts, and a roof to keep out the rain, he is not yet an artist. But the moment he begins to consider his work with some feeling, and arranges the relative sizes of his walls and roof so that they answer to some sense he has for beautiful proportion, he has become an artist, and his hut has some architectural pretensions. Now if his hut is of wood, and he paints it to protect it from the elements, nothing necessarily artistic has been done. But if he selects colours that give him pleasure in their arrangement, and if the forms his colour masses assume are designed with some personal feeling, he has invented a primitive form of decoration.

同样，如果一个野蛮人想要描述他所看到的一种奇怪的动物，他会拿一块烧焦的木头，在墙上画出他对它的外观的想法，一种它的外观目录，他不一定是一个艺术家。只有当他在某种感觉、某种动物外表所感受到的愉悦的影响下进行绘画时，他才成为一名艺术家。

And likewise the savage who, wishing to illustrate his description of a strange animal he has seen, takes a piece of burnt wood and draws on the wall his idea of what it looked like, a sort of catalogue of its appearance, he is not necessarily an artist. It is only when he draws under the influence of some feeling, of some pleasure he felt in the appearance of the animal, that he becomes an artist.

当然，在每种情况下，我们都假设男人有能力被这些事物所感动，而他们是好还是差的艺术家将取决于他们的感觉的质量及其表达的适合度。

Of course in each case it is assumed that the men have the power to be moved by these things, and whether they are good or poor artists will depend on the quality of their feeling and the fitness of its expression.

板 IV

Plate IV

红粉笔纸上北风神像的研究

STUDY ON TISSUE-PAPER IN RED CHALK FOR FIGURE OF BOREAS

这种“有节奏的情感表达”最纯粹的形式就是音乐。正如沃尔特·佩特（Walter Pater）在他关于“乔尔乔内学院”的文章中向我们展示的那样，“音乐是一种艺术。” 其他人在接近其条件时更具艺术性。诗歌是文学中最具音乐性的形式，也是其最具艺术性的形式。在最伟大的图片中，形式、色彩和思想结合在一起，以类似于音乐的和声让我们兴奋不已。

The purest form of this “ rhythmic expression of feeling” is music. And as Walter Pater shows us in his essay on “ The School of Giorgione,” “music is the type of art.” The others are more artistic as they approach its conditions. Poetry, the most musical form of literature, is its most artistic form. And in the greatest pictures form, colour, and idea are united to thrill us with harmonies analogous to music.

画家通过对可见的自然世界的表现，以及通过对他想象中的形状和色彩的组合的表现来表达他的感受，这些组合最初都源于可见的自然。如果他因缺乏技巧而无法使他的表现令理性的人信服，那么无论他的艺术意图多么崇高，他很可能都会陷入荒谬的境地。然而，情感对艺术家的引导力是如此之大，以至于当真诚的情感成为动机时，他的作品很少会无法传达某些东西。另一方面，没有艺术冲动的画家，如果费力地描绘一些普通或自命不凡的主题，作为一个艺术家同样是失败的，无论他的表现技巧多么娴熟，可能会为他赢得不假思索的声誉。

The painter expresses his feelings through the representation of the visible world of Nature, and through the representation of those combinations of form and colour inspired in his imagination, that were all originally derived from visible nature. If he fails from lack of skill to make his representation convincing to reasonable people, no matter how sublime has been his artistic intention, he will probably have landed in the ridiculous. And yet, so great is the power of direction exercised by the emotions on the artist that it is seldom his work fails to convey something, when genuine feeling has been the motive. On the other hand, the painter with no artistic impulse who makes a laboriously commonplace picture of some ordinary or pretentious subject, has equally failed as an artist, however much the skilfulness of his representations may gain him reputation with the unthinking.

因此，研究可见自然的表现以及形式和色彩所具有的表达能力是画家训练的目标。

The study, therefore, of the representation of visible nature and of the powers of expression possessed by form and colour is the object of the painter’s training.

如果他想要做出任何值得他的艺术的事情，那么对这种再现和表达能力的掌控是绝对必要的。

And a command over this power of representation and expression is absolutely necessary if he is to be capable of doing anything worthy of his art.

这都是人们可以尝试教授的艺术。情感方面超出了教学范围。你无法教人们如何感受。你所能做的就是用精心设计的条件包围他们，以激发他们可能拥有的任何自然感觉。这是通过让学生熟悉最好的艺术和自然作品来实现的。

This is all in art that one can attempt to teach. The emotional side is beyond the scope of teaching. You cannot teach people how to feel. All you can do is to surround them with the conditions calculated to stimulate any natural feeling they may possess. And this is done by familiarising students with the best works of art and nature.

令人惊讶的是，很少有艺术学生知道艺术的构成是什么。可以假设，他们受到通过绘画表达自己的自然欲望的驱使，如果他们的直觉能力足够强，那么他们是否知道也许并不重要。但对于大多数没有如此强烈推动的人来说，非常重要的是，他们对艺术有一些更好的理解，而不是把你的画布放在自然面前并复制它。

It is surprising how few art students have any idea of what it is that constitutes art. They are impelled, it is to be assumed, by a natural desire to express themselves by painting, and, if their intuitive ability is strong enough, it perhaps matters little whether they know or not. But to the larger number who are not so violently impelled, it is highly essential that they have some better idea of art than that it consists in setting down your canvas before nature and copying it.

尽管对一个非常有趣的主题的这种不完美的处理是不够的，但它可能有助于提供一些关于撰写以下内容的观点的想法，并且它是否也有助于扰乱任何学生心中的“复制理论”并鼓励他们进一步探究，这将起到有益的作用。

Inadequate as this imperfect treatment of a profoundly interesting subject is, it may serve to give some idea of the point of view from which the following pages are written, and if it also serves to disturb the “copying theory ” in the minds of any students and encourages them to make further inquiry, it will have served a useful purpose.

二

II

绘画

DRAWING

这里的绘图是指平面上形式的表达。

By drawing is here meant the expression of form upon a plane surface.

艺术的表达范围可能更多地归功于形式而不是色彩。它能够传达的许多最高尚的东西都是通过形式比其他任何东西都更直接地表达出来的。有趣的是，世界上一些最伟大的艺术家对色彩的使用非常有限，他们更喜欢依靠形式来表达主要吸引力。据悉，阿佩莱斯只使用了黑、红、黄三种颜色，伦勃朗几乎没有使用其他颜色。绘画虽然是第一位的，但也是画家通常学习的最后一件事。其中有更多可以教授的内容，并且可以回报不断的应用和努力。颜色似乎更多地依赖于自然感觉，不太适合教学。每个学生都应该竭尽全力去培养训练有素的形式欣赏能力。

Art probably owes more to form for its range of expression than to colour. Many of the noblest things it is capable of conveying are expressed by form more directly than by anything else. And it is interesting to notice how some of the world’s greatest artists have been very restricted in their use of colour, preferring to depend on form for their chief appeal. It is reported that Apelles only used three colours, black, red, and yellow, and Rembrandt used little else. Drawing, although the first, is also the last, thing the painter usually studies. There is more in it that can be taught and that repays constant application and effort. Colour would seem to depend much more on a natural sense and to be less amenable to teaching. A well-trained eye for the appreciation of form is what every student should set himself to acquire with all the might of which he is capable.

在艺术绘画中，仅仅准确、冷酷地描绘物体的外观是不够的。要表达形式，首先必须被形式所感动。所有物体的外观，无论是有生命的还是无生命的，都具有所谓的情感意义，一种隐藏的节奏，是准确、辛苦但冷酷的艺术家无法捕捉到的。我们所说的形式意义在像照片这样的机械复制品中是找不到的。当你看到一件作品时，你永远不会感动地说：“多么精美的形式。”

It is not enough in artistic drawing to portray accurately and in cold blood the appearance of objects. To express form one must first be moved by it. There is in the appearance of all objects, animate and inanimate, what has been called an emotional significance, a hidden rhythm that is not caught by the accurate, painstaking, but cold artist. The form significance of which we speak is never found in a mechanical reproduction like a photograph. You are never moved to say when looking at one, “ What fine form.”

很难说这种品质由什么组成。直接在强烈感觉的引导下所画的画，无意识地强调和选择，是微妙的，难以列表的；他们逃避分析。但正是这种对重要内容的选择和对非本质内容的抑制，往往使得几条快速绘制的线条，与真实物体的复杂外观有某种遥远的关系，比在纸上找到的更有活力和真实。一幅精心制作、煞费苦心的图画，在此过程中，在工作的过程中忽略了本质和重要的东西；而那些通常更为明显的非本质因素却被允许潜入并掩盖了最初的印象。当然，如果完成的绘图是在思想集中于所针对的特定形式意义的情况下完成的，并且每一个触感和细节都与这个想法相一致，那么比较可能会有所不同。但很少有好的作品是这样完成的。美好的事物似乎只能在一瞬间被看到，而在一幅精心制作的绘画作品中，能够保留这些瞬间印象的自然是非常罕见的，并且只属于该工艺中为数不多的伟大作品。

It is difficult to say in what this quality consists. The emphasis and selection that is unconsciously given in a drawing done directly under the guidance of strong feeling, are too subtle to be tabulated; they escape analysis. But it is this selection of the significant and suppression of the non-essential that often gives to a few lines drawn quickly, and having a somewhat remote relation to the complex appearance of the real object, more vitality and truth than are to be found in a highly-wrought and painstaking drawing, during the process of which the essential and vital things have been lost sight of in the labour of the work; and the non-essential, which is usually more obvious, has been allowed to creep in and obscure the original impression. Of course, had the finished drawing been done with the mind centred upon the particular form significance aimed at, and every touch and detail added in tune to this idea, the comparison might have been different. But it is rarely that good drawings are done this way. Fine things seem only to be seen in flashes, and the nature that can carry over the impression of one of these moments during the labour of a highly-wrought drawing is very rare, and belongs to the few great ones of the craft alone.

很难知道为什么人们会被形式的表达所感动；但它似乎对我们有一些身体上的影响。当我们看到一幅精美的图画时，比如说一个强壮的男人，我们似乎认同它，并感受到它在我们体内的力量的震撼，促使我们咬紧牙关，绷紧我们的框架，并感叹“那很好”。或者，当我们看到一幅美丽女子的画时，我们会被它的魅力所柔和，感受到它的甜蜜，感叹“多么美丽”。无论哪种情况，衡量感觉的标准都是艺术家在创作绘画时对主题的认同程度，并被迫选择形式中的表现元素。

It is difficult to know why one should be moved by the expression of form; but it appears to have some physical influence over us. In looking at a fine drawing, say of a strong man, we seem to identify ourselves with it and feel a thrill of its strength in our own bodies, prompting us to set our teeth, stiffen our frame, and exclaim “ That’s fine.” Or, when looking at the drawing of a beautiful woman, we are softened by its charm and feel in ourselves something of its sweetness as we exclaim, “How beautiful.” The measure of the feeling in either case will be the extent to which the artist has identified himself with the subject when making the drawing, and has been impelled to select the expressive elements in the forms.

因此，艺术使我们能够间接体验生活。小个子可能会享受大个子的一些更广泛的经验，并受到教育，及时欣赏自己更广泛的经验。这是公共画廊的真正理由。与其说是因为他们所施加的道德影响，我们已经听过很多次了，不如说是因为他们可以通过艺术家的视野来引导人们扩大他们的生活体验。这种经验的扩大是真正的教育，与通常所认为的事实记忆截然不同。在某种程度上，这可以说是一种道德影响，因为心胸宽广的人不太可能怀有小气。但这并不是许多人通常寻求的道德影响力，他们更需要图片讲述一个道德故事；一种并不总是适合艺术表达的东西。

Art thus enables us to experience life at second hand. The small man may enjoy somewhat of the wider experience of the bigger man, and be educated to appreciate in time a wider experience for himself. This is the true justification for public picture galleries. Not so much for the moral influence they exert, of which we have heard so much, but that people may be led through the vision of the artist to enlarge their experience of life. This enlarging of the experience is true education, and a very different thing from the memorising of facts that so often passes as such. In a way this may be said to be a moral influence, as a larger mind is less likely to harbour small meannesses. But this is not the kind of moral influence usually looked for by the many, who rather demand a moral story told by the picture; a thing not always suitable to artistic expression.

人们总是对形式上的体积感、浩瀚感或质量感的表达印象深刻。有一种从渺小的自我中被提升到更大、更稳定的感觉。正是米开朗基罗的人物中这种美妙的巨大感让人如此满足。当一个人在梵蒂冈那美妙的天花板上沉思时，就会感到自己经历了比以前所知道的更伟大的生活。人的尊严从未在绘画中达到如此高的表达，这一高度让所有试图追随这位孤独大师的人感到绝望。在风景画中，这种巨大的表达也很好：人们喜欢感受地面的重量和质量、天空和海洋的浩瀚、山的体积。

One is always profoundly impressed by the expression of a sense of bulk, vastness, or mass in form. There is a feeling of being lifted out of one’s puny self to something bigger and more stable. It is this splendid feeling of bigness in Michael Angelo’s figures that is so satisfying. One cannot come away from the contemplation of that wonderful ceiling of his in the Vatican without the sense of having experienced something of a larger life than one had known before. Never has the dignity of man reached so high an expression in paint, a height that has been the despair of all who have since tried to follow that lonely master. In landscape also this expression of largeness is fine: one likes to feel the weight and mass of the ground, the vastness of the sky and sea, the bulk of a mountain.

另一方面，人们也被轻盈的表达所吸引。波提切利和十五世纪意大利人的大部分作品都可以注意到这一点。波提切利的人物很少有重量；它们飘浮如空中，给人一种超凡脱俗的愉悦感。圣母玛利亚抱着孩子的手可能会拿着鲜花，以表达任何支持感。我认为，波提切利绘画的精致魅力很大程度上取决于这种轻盈感。

On the other hand one is charmed also by the expression of lightness. This may be noted in much of the work of Botticelli and the Italians of the fifteenth century. Botticelli’s figures seldom have any weight; they drift about as if walking on air, giving a delightful feeling of otherworldliness. The hands of the Madonna that hold the Child might be holding flowers for any sense of support they express. It is, I think, on this sense of lightness that a great deal of the exquisite charm of Botticelli’s drawing depends.

风吹过的云朵和窗帘的羽毛般轻盈总是令人愉悦，波提切利几乎总是让微风吹过他的窗帘，赋予它们这种感觉。

The feathery lightness of clouds and of draperies blown by the wind is always pleasing, and Botticelli nearly always has a light wind passing through his draperies to give them this sense.

正如稍后将要解释的，在学术绘画方面，学生非常有必要通过最艰苦的绘画来准确地训练他的眼睛来观察事物的形式。在这些学校学习中，不需要考虑感觉，而只考虑冷酷的准确性。就像歌手训练自己唱音阶一样，赋予每个音符完全相同的重量，并始终保持最机械的时间，这样他声音的每个音符都可以准确地在他的控制之下，并等于他随后可能出现的最微妙的变化。想要按照感觉的要求注入其中。因为，一个不知道如何准确地画出物体冰冷、平常的景象的绘图员，怎么能希望表现出在强烈情感的刺激下所看到的同一事物所呈现的微妙差异呢？

As will be explained later, in connection with academic drawing, it is eminently necessary for the student to train his eye accurately to observe the forms of things by the most painstaking of drawings. In these school studies feeling need not be considered, but only a cold accuracy. In the same way a singer trains himself to sing scales, giving every note exactly the same weight and preserving a most mechanical time throughout, so that every note of his voice may be accurately under his control and be equal to the subtlest variations he may afterwards want to infuse into it at the dictates of feeling. For how can the draughtsman who does not know how to draw accurately the cold, commonplace view of an object, hope to give expression to the subtle differences presented by the same thing seen under the excitement of strong feeling?

第五版

Plate V

摘自波提切利的研究，大英博物馆印刷室。

FROM A STUDY BY BOTTICELLI In the Print Room at the British Museum.

第六版

Plate VI

阿尔弗雷德·斯蒂芬斯对天然红粉笔的研究

STUDY IN NATURAL RED CHALK BY ALFRED STEPHENS

来自查尔斯·里基茨和查尔斯·香农的收藏

From the collection of Charles Ricketts and Charles Shannon

这些学术图画也应该尽可能地完成，这样才能养成精细视觉表达的习惯。稍后，当尝试更精细的绘画时，当艺术家在情感刺激的热潮中，没有时间考虑绘画的较小微妙之处时，这将是必要的，到那时，这对他来说几乎是本能的，离开了他的自由地思考更大的品质。

These academic drawings, too, should be as highly finished as hard application can make them, so that the habit of minute visual expression may be acquired. It will be needed later, when drawing of a finer kind is attempted, and when in the heat of an emotional stimulus the artist has no time to consider the smaller subtleties of drawing, which by then should have become almost instinctive with him, leaving his mind free to dwell on the bigger qualities.

因此，绘画要想名副其实，就必须不仅仅是所谓的精确。它必须以比我们通常在自然界中看到的更生动的方式呈现事物的形式。艺术史上的每一位新绘图家都在平凡事物的形式中发现了新的意义，并给世界带来了新的体验。他在这些品质在他内心激发的感觉的刺激下表现了这些品质，可以说是热辣的、强调的，为世界在其艺术中所拥有的伟大的视觉之书增添了色彩，而这本书尚未完成。

Drawing, then, to be worthy of the name, must be more than what is called accurate. It must present the form of things in a more vivid manner than we ordinarily see them in nature. Every new draughtsman in the history of art has discovered a new significance in the form of common things, and given the world a new experience. He has represented these qualities under the stimulus of the feeling they inspired in him, hot and underlined, as it were, adding to the great book of sight the world possesses in its art, a book by no means completed yet.

因此，正如人们常说的那样，如果说一幅画是不真实的，因为它没有准确地呈现一个物体的常见外观，这可能是愚蠢的。它的准确性取决于它传达绘画对象的特定情感意义的完整性。这个意义到底是什么，对于每个艺术家来说会有很大的不同，但只有通过这个标准才能判断绘画的准确性。

So that to say of a drawing, as is so often said, that it is not true because it does not present the commonplace appearance of an object accurately, may be foolish. Its accuracy depends on the completeness with which it conveys the particular emotional significance that is the object of the drawing. What this significance is will vary enormously with the individual artist, but it is only by this standard that the accuracy of the drawing can be judged.

正是科学准确性和艺术准确性之间的这种差异让很多人感到困惑。科学要求以称重机般的客观准确性来观察现象，而艺术准确性则要求由有感知能力的个体来观察事物，记录生命现象在他身上产生的感觉。具有现在在我们中间如此普遍的科学习惯的人，看到一张图片或绘画，其中所谓的事实被情感地表达出来，如果他们谦虚，就会感到困惑，或者嘲笑他们认为绘画中的明显错误，如果但他们并非如此，而问题出在他们的错误观点上。

It is this difference between scientific accuracy and artistic accuracy that puzzles so many people. Science demands that phenomena be observed with the unemotional accuracy of a weighing machine, while artistic accuracy demands that things be observed by a sentient individual recording the sensations produced in him by the phenomena of life. And people with the scientific habit that is now so common among us, seeing a picture or drawing in which what are called facts have been expressed emotionally, are puzzled, if they are modest, or laugh at what they consider a glaring mistake in drawing if they are not, when all the time it may be their mistaken point of view that is at fault.

但是，虽然没有绝对的艺术标准来判断绘画的准确性，因为这种标准必然会随着每个艺术家的艺术意图而变化，但这一事实不能成为任何因不称职而可能产生明显错误的绘画的借口。 ，就像学生们经常做的那样，当他们被纠正时，他们说他们“是这样看的”。因为毫无疑问，绘画中存在着一个粗略的物理正确标准，任何强烈的偏离，即使是在情感表达的支配下，也会产生怪诞的效果。学生在学术训练中要获得这种工作准确性的物理标准。科学可以通过诸如透视学、解剖学，甚至地质学和植物学等研究提供的一切帮助，都应该用来提高他的表述的准确性。因为艺术作品的吸引力在很大程度上取决于艺术家通过表现手法表达自己的能力，这些表现手法以其真实性和自然性吸引了所有人。虽然，当真理和自然性在没有任何艺术表达的情况下存在时，其结果作为艺术来说是微不足道的，但另一方面，当真正的艺术表达披着冒犯我们物理真理观念的表象时，只有少数人能够做到这一点。原谅冒犯是为了他们在冒犯背后感受到的真实感受。

But while there is no absolute artistic standard by which accuracy of drawing can be judged, as such standard must necessarily vary with the artistic intention of each individual artist, this fact must not be taken as an excuse for any obviously faulty drawing that incompetence may produce, as is often done by students, who when corrected, say that they “saw it so.” For there undoubtedly exists a rough physical standard of rightness in drawing, any violent deviations from which, even at the dictates of emotional expression, is productive of the grotesque. This physical standard of accuracy in his work it is the business of the student to acquire in his academic training; and every aid that science can give by such studies as Perspective, Anatomy, and, in the case of Landscape, even Geology and Botany, should be used to increase the accuracy of his representations. For the strength of appeal in artistic work will depend much on the power the artist possesses of expressing himself through representations that arrest everyone by their truth and naturalness. And although, when truth and naturalness exist without any artistic expression, the result is of little account as art, on the other hand, when truly artistic expression is clothed in representations that offend our ideas of physical truth, it is only the few who can forgive the offence for the sake of the genuine feeling they perceive behind it.

在多大程度上可以允许表达的必要性凌驾于物体外观的物理结构的真理的规定之上，这始终是一个备受争议的问题。在最好的绘图中，对机械精度的偏离是如此微妙，以至于我毫不怀疑许多人会完全否认这种事情的存在。优秀的艺术家具有强烈的自然灵感，但头脑简单，在绘画时常常无意识地做任何事情，但尽可能机械地准确。

How far the necessities of expression may be allowed to override the dictates of truth to physical structure in the appearance of objects, will always be a much debated point. In the best drawing the departures from mechanical accuracy are so subtle that I have no doubt many will deny the existence of such a thing altogether. Good artists of strong natural inspiration, but simple minds, are often quite unconscious of doing anything but being as mechanically accurate as possible, when painting.

然而，无论在多大程度上让自己投入艺术工作是明智的，在你的学术训练期间，你的目标应该是搜索的准确性。

Yet however much it may be advisable to let yourself go in artistic work, during your academic training let your aim be a searching accuracy.

三、

III

想象

VISION

如果我们想要理解形式的概念，首先有必要谈论一下视觉。

IT is necessary to say something about Vision in the first place, if we are to have any grasp of the idea of form.

视觉行为并不像学生问老师是否应该“按照她所看到的自然来描绘自然”所想的那么简单。他的回答是：“是的，女士，只要你在画自然时不看到自然。”这表达了绘画学生必须面对的第一个困难：学习观看的困难。

An act of vision is not so simple a matter as the student who asked her master if she should “ paint nature as she saw nature would seem to have thought. And his answer, “ Yes, madam, provided you don’t see nature as you paint nature,” expressed the first difficulty the student of painting has to face: the difficulty of learning to see.

让我们粗略地检查一下我们对视觉的了解。科学告诉我们，所有物体都是通过光而变得可见的。我们通过白光看到事物的正常面貌，它是由太阳光谱中的所有颜色组成的，就像在彩虹中看到的那样。众所周知，这种现象是由于太阳光线被分解成其组成部分而引起的。

Let us roughly examine what we know of vision. Science tells us that all objects are made visible to us by means of light; and that white light, by which we see things in what may be called their normal aspect, is composed of all the colours of the solar spectrum, as may be seen in a rainbow; a phenomenon caused, as everybody knows, by the sun’s rays being split up into their component parts.

这种光沿直线传播，照射到我们面前的物体时，会向各个方向反射。其中一些光线穿过位于眼睛晶状体后面的点，照射到视网膜。这些光线在视网膜上的倍增产生了眼前事物的图像，例如可以在摄影师相机后面的磨砂玻璃上或在相机暗箱的桌子上看到的图像，这两种仪器都是构造的与人眼的原理大致相同。

This light travels in straight lines and, striking objects before us, is reflected in all directions. Some of these rays passing through a point situated behind the lenses of the eye, strike the retina. The multiplication of these rays on the retina produces a picture of whatever is before the eye, such as can be seen on the ground glass at the back of a photographer’s camera, or on the table of a camera obscura, both of which instruments are constructed roughly on the same principle as the human eye.

这些光线在从物体反射并再次穿过大气层时会发生某些变化。如果物体是红色的，那么实际上，除了红色光线之外，黄色、绿色和蓝色光线都被物体吸收，而红色则被允许逃逸。这些红色光线照射到视网膜上会产生一定的效果，从而向我们的意识传达红色的感觉，我们会说“那是一个红色的物体”。但空气中可能存在湿气或灰尘颗粒，这些颗粒会改变红色光线，因此当它们到达眼睛时，它们可能会有所不同。当必须穿过大量大气层时，这种修改自然是最有效的，并且在很远的地方，自然物体的颜色常常完全消失，被大气颜色所取代，正如我们在遥远的山脉中看到的那样，当空气尚不完全清楚。但我们绝不能误入色彩的迷人领域。

These rays of light when reflected from an object, and again when passing through the atmosphere, undergo certain modifications. Should the object be a red one, the yellow, green, and blue rays, all, in fact, except the red rays, are absorbed by the object, while the red is allowed to escape. These red rays striking the retina produce certain effects which convey to our consciousness the sensation of red, and we say “ That is a red object.” But there may be particles of moisture or dust in the air that will modify the red rays so that by the time they reach the eye they may be somewhat different. This modification is naturally most effective when a large amount of atmosphere has to be passed through, and in things very distant the colour of the natural object is often entirely lost, to be replaced by atmospheric colours, as we see in distant mountains when the air is not perfectly clear. But we must not stray into the fascinating province of colour.

这里我们主要关心的是这样一个事实：我们视网膜上的图像是平面的、二维的，与我们绘画的画布相同。如果你不带任何偏见地审视这些视觉图片，就像用暗箱观察一样，你会发现它们是由无数种类和复杂性、不同形状和层次以及多种边缘的颜色组成的；尽管人们始终知道人们正在观看的是一张平坦的桌子，但它给眼睛带来了自然的错觉，具有实际的深度和距离。

What chiefly concerns us here is the fact that the pictures on our retinas are flat, of two dimensions, the same as the canvas on which we paint. If you examine these visual pictures without any prejudice, as one may with a camera obscura, you will see that they are composed of masses of colour in infinite variety and complexity, of different shapes and gradations, and with many varieties of edges; giving to the eye the illusion of nature with actual depths and distances, although one knows all the time that it is a flat table on which one is looking.

那么，我们的眼睛所看到的只是含有客观世界二维信息的平面图像，那么这种关于距离和事物实体性的知识从何而来呢？我们如何通过二维的平面图片来看到第三维，即深度和厚度？

Seeing then that our eyes have only flat pictures containing two - dimension information about the objective world, from whence is this knowledge of distance and the solidity of things? How do we see the third dimension, the depth and thickness, by means of flat pictures of two dimensions?

判断距离的能力主要是由于我们拥有两只位置稍有不同的眼睛，从这两个眼睛我们可以看到物体的两个视图，同时也由于眼睛拥有在不同距离聚焦的能力，而其他眼睛则因观察距离而失焦。暂且。在一幅画中，眼睛只能聚焦在一个距离（当你看它时，眼睛与画面平面的距离），这是绘画背景长期困难的主要原因之一。在自然界中，当人们观看物体时，它们是失焦的，但在绘画中，背景必然与物体位于同一焦平面上。画家们为了克服这一困难而采取了许多手段，但我们在这里不关心它们。

The power to judge distance is due principally to our possessing two eyes situated in slightly different positions, from which we get two views of objects, and also to the power possessed by the eyes of focussing at different distances, others being out of focus for the time being. In a picture the eyes can only focus at one distance (the distance the eye is from the plane of the picture when you are looking at it), and this is one of the chief causes of the perennial difficulty in painting backgrounds. In nature they are out of focus when one is looking at an object, but in a painting the background is necessarily on the same focal plane as the object. Numerous are the devices resorted to by painters to overcome this difficulty, but they do not concern us here.

事实上，我们的两个视网膜上有两个平面图像来帮助我们，并且我们可以聚焦在不同的平面上，这一事实不足以解释我们对客观世界的坚固性和形状的了解，如果这些感觉不与另一个感觉相关联的话。感觉在形式观念和触觉中都很重要。

The fact that we have two flat pictures on our two retinas to help us, and that we can focus at different planes, would not suffice to account for our knowledge of the solidity and shape of the objective world, were these senses not associated with another sense all important in ideas of form, the sense of touch.

这种感觉在我们身上非常发达，我们存在的早期阶段主要是对我们之外的客观世界的感觉。谁没有见过婴儿的小手抚摸着触手可及的一切，以及触手可及的一切？因为婴儿还不知道什么是他力所能及的，什么是他力所能及的。谁没有向年幼的孩子提供过一些明亮的物体，并观察他笨拙地试图摸索它，一开始几乎就像盲人一样笨拙，因为他还没有学会聚焦距离。当他最终抓住它时，他是多么渴望地感受它，始终专注地看着它；因此，很早就学会将“物体的感觉”与其外观联系起来。通过这种方式，他逐渐获得了粗糙和光滑、坚硬和柔软、坚固等的观念，以后他将能够仅通过视觉来区分这些观念，而无需触摸物体。

This sense is very highly developed in us, and the earlier period of our existence is largely given over to feeling for the objective world outside ourselves. Who has not watched the little baby hands feeling for everything within reach, and without its reach, for the matter of that; for the infant has no knowledge yet of what is and what is not within its reach. Who has not offered some bright object to a young child and watched its clumsy attempts to feel for it, almost as clumsy at first as if it were blind as it has not yet learned to focus distances. And when he has at last got hold of it, how eagerly he feels it all over, looking intently at it all the time; thus learning early to associate the “feel of an object” with its appearance. In this way by degrees he acquires those ideas of roughness and smoothness, hardness and softness, solidity, &c., which later on he will be able to distinguish by vision alone, and without touching the object.

我们的生存很大程度上依赖于触觉，因此它对我们来说至关重要。我们必须知道地面是否坚硬到足以让我们行走，或者我们前面是否有一个洞；大量的彩色光线照射到视网膜上，这就是视觉，但它们本身并不能告诉我们什么。但结合我们早年积累的知识，通过将触觉与视觉联系起来，我们确实知道，当某些颜色光线的组合射入眼睛时，就有一条路可供我们行走，而当出现某些其他组合时，就有一条路可供我们行走。我们面前的洞，或者悬崖的边缘。

Our survival depends so much on this sense of touch, that it is of the first importance to us. We must know whether the ground is hard enough for us to walk on, or whether there is a hole in front of us; and masses of colour rays striking the retina, which is what vision amounts to, will not of themselves tell us. But associated with the knowledge accumulated in our early years, by connecting touch with sight, we do know when certain combinations of colour rays strike the eye that there is a road for us to walk on, and that when certain other combinations occur there is a hole in front of us, or the edge of a precipice.

同样，对于硬度和柔软度，当孩子用头撞床柱​​时，他的本性会强行提醒他要避免这种事情，并且感觉它是硬的，而且硬度有一定的外观，他就避免了这种事情。未来的事情。当它用头撞击枕头时，它了解了柔软的本质，并将这种感觉与枕头的外观联系起来，将来知道当观察到柔软时，不必避免，因为必须避免坚硬。

And likewise with hardness and softness, the child who strikes his head against the bed-post is forcibly reminded by nature that such things are to be avoided, and feeling that it is hard and that hardness has a certain look, it avoids that kind of thing in the future. And when it strikes its head against the pillow, it learns the nature of softness, and associating this sensation with the appearance of the pillow, knows in future that when softness is observed it need not be avoided as hardness must be.

因此，视力不仅仅是眼睛的问题。当物体折射的光线照射到视网膜上时，与客观世界相关的一整套联想就会在头脑中产生。对于不同的人来说，这些关联的数量和价值差异很大。但我们在这里主要关心的是这种普遍的触摸。每个人都“看到”物体的形状，并且“看到”它“看起来”是硬的还是软的，等等。换句话说，就是看到它的“感觉”。

Sight is therefore not a matter of the eye alone. A whole train of associations connected with the objective world is set going in the mind when rays of light strike the retina refracted from objects. And these associations vary enormously in quantity and value with different individuals; but the one we are here chiefly concerned with is this universal one of touch. Everybody “ sees ” the shape of an object, and “ sees ” whether it “ looks ” hard or soft, &c. Sees, in other words, the “ feel ” of it.

如果让你想象一个物体，比如圆锥体，我认为大多数人不会想到它的视觉方面。他们会想到一个圆形底座，从该底座开始，连续的侧面倾斜到位于其中心上方的一点，正如人们所感觉到的那样。事实上，几乎在每个视觉方面，基线都是椭圆形，而不是圆形，这让不习惯绘画的人感到惊讶。

If you are asked to think of an object, say a cone, it will not, I think, be the visual aspect that will occur to most people. They will think of a circular base from which a continuous side slopes up to a point situated above its centre, as one would feel it. The fact that in almost every visual aspect the base line is that of an ellipse, not a circle, comes as a surprise to people unaccustomed to drawing.

但在这些更原始的例子之上，当观察到令人感动的景象时，脑海中会涌起多么丰富的联想。把两个人放在一个场景前，一个是普通人，另一个是伟大的诗人，让他们描述他们所看到的。假设他们都拥有诚实地表达自己的合理能力，那么他们的描述的价值会有多大的不同。或者让两位同样具有表达视觉感知能力的画家，将他们放在场景前进行绘画。假设一个是普通人，另一个是伟大的艺术家，他们的作品会有多大的不同。平凡的画家画出一幅平凡的图画，而形式和色彩则成为激起对方内心深处的联想和感情的手段，并促使他去描绘场景，从而将联想的同样精彩传达给他人。旁观者。

But above these cruder instances, what a wealth of associations crowd in upon the mind, when a sight that moves one is observed. Put two men before a scene, one an ordinary person and the other a great poet, and ask them to describe what they see. Assuming them both to be possessed of a reasonable power honestly to express themselves, what a difference would there be in the value of their descriptions. Or take two painters both equally gifted in the power of expressing their visual perceptions, and put them before the scene to paint it. And assuming one to be a commonplace man and the other a great artist, what a difference will there be in their work. The commonplace painter will paint a commonplace picture, while the form and colour will be the means of stirring deep associations and feelings in the mind of the other, and will move him to paint the scene so that the same splendour of associations may be conveyed to the beholder.

第七版

Plate VII

《阿波罗与达芙妮》图中阿波罗形象的研究

STUDY FOR THE FIGURE OF APOLLO IN THE PICTURE

“APOLLO AND DAPHNE ”

用天然红色粉笔用手指摩擦；高光是用橡胶挑出来的。

In natural red chalk rubbed with finger; the high lights are picked out with rubber.

第八版

Plate VIII

研究用红色粉笔和白色蜡笔在调色纸上擦拭的图片。

STUDY FOR A PICTURE

In red conté chalk and white pastel rubbed on toned paper.

但回到我们婴儿的心灵。虽然对事物的感知一直在发展，但问题的纯粹视觉方面，即对视网膜上图像的形状和颜色的观察，却被忽视了——被忽视的程度是，当孩子来尝试绘画时，视觉并不是他所参考的感觉。在他的脑海中成长起来的客观世界的心理观念现在更直接地与触觉而不是视觉联系在一起，与感觉到的形状而不是视觉外观联系在一起。因此，如果要求他画一个头，他首先想到的是一个在空间中具有连续边界的物体。他的头脑本能地将其设想为一条线。然后，他用一排从边界延伸出来的小线来表达头发，围绕着顶部。他认为眼睛是两个点或两个圆，或者是圆中的点，而鼻子则是三角形或L形线。如果你摸一下鼻子，你就会明白其中的原因。前面有一条 L 线，如果你摸一下它，你会发现两条边在顶部相交，并有一个底部连接它们，暗示着三角形。嘴同样是一个带有一排牙齿的开口，虽然很少看到，但通常会显示出来，但如果感觉到嘴的话总是很明显（见图A）。我认为，这是普通孩子画的第一幅画的典型类型——从我记得在庞贝古城的墙上注意到的一些相同顺序的古代涂鸦来判断，并且从一般的野蛮绘画来看，这似乎是一个相当不错的画作。通用型。据我所知，这是一件非常值得注意的事情，但尚未有人指出，在这些最初绘制愿景的尝试中不应参考这一点。盲人的画法不会有什么不同，只要他能看见就可以画画。如果视觉是第一个被参考的感官，并且追求的是最简单的视觉外观，那么人们可能会想到像图B那样的东西，眼睛、鼻子、嘴巴和下巴下的阴影，以及深色头发的质量是视觉外观中最简单的东西可以减少到。尽管这很容易做到，但它不像其他类型那样对普通孩子有吸引力，因为它不能满足触觉，而触觉是大脑中物体概念的重要组成部分。所有的建筑立面和几何投影通常都会吸引这种形式的心理观念。它们包含任何人都不可能看到的建筑物或物体的视图，假设观众的眼睛同时正好位于建筑物的每个部分的前面，这在物理上是不可能的。然而，我们对物体的心理想法与实际的视觉外观是如此相距甚远，以至于这些图画确实传达了对建筑物或物体的非常准确的想法。当然，它们作为工作图具有很大的优势，因为它们可以缩放。

But to return to our infant mind. While the development of the perception of things has been going on, the purely visual side of the question, the observation of the picture on the retina for what it is as form and colour, has been neglected—neglected to such an extent that when the child comes to attempt drawing, sight is not the sense he consults. The mental idea of the objective world that has grown up in his mind is now associated more directly with touch than with sight, with the felt shape rather than the visual appearance. So that if he is asked to draw a head, he thinks of it first as an object having a continuous boundary in space. This his mind instinctively conceives as a line. Then, hair he expresses by a row of little lines coming out from the boundary, all round the top. He thinks of eyes as two points or circles, or as points in circles, and the nose either as a triangle or an L-shaped line. If you feel the nose you will see the reason of this. Down the front you have the L line, and if you feel round it you will find the two sides meeting at the top and a base joining them, suggesting the triangle. The mouth similarly is an opening with a row of teeth, which are generally shown although so seldom seen, but always apparent if the mouth is felt (see diagram A). This is, I think, a fair type of the first drawing the ordinary child makes—and judging by some ancient scribbling of the same order I remember noticing scratched on a wall at Pompeii, and by savage drawing generally, it appears to be a fairly universal type. It is a very remarkable thing which, as far as I know, has not yet been pointed out, that in these first attempts at drawing the vision should not be consulted. A blind man would not draw differently, could he but see to draw. Were vision the first sense consulted, and were the simplest visual appearance sought after, one might expect something like diagram B, the shadows under eyes, nose, mouth, and chin, with the darker mass of the hair being the simplest thing the visual appearance can be reduced to. But despite this being quite as easy to do, it does not appeal to the ordinary child as the other type does, because it does not satisfy the sense of touch that forms so large a part of the idea of an object in the mind. All architectural elevations and geometrical projections generally appeal to this mental idea of form. They consist of views of a building or object that could never possibly be seen by anybody, assuming as they do that the eye of the spectator is exactly in front of every part of the building at the same time, a physical impossibility. And yet so removed from the actual visual appearance is our mental idea of objects that such drawings do convey a very accurate idea of a building or object. And of course they have great advantage as working drawings in that they can be scaled.

A，儿童绘制的第一幅图画的类型，显示如何未咨询视力

A, TYPE OF FIRST DRAWING MADE BY CHILDREN, SHOWING HOW VISION HAS NOT BEEN CONSULTED

B，如果尝试了最原始的视觉外观表达，可能会出现什么类型

B, TYPE OF WHAT MIGHT HAVE BEEN EXPECTED IF CRUDEST EXPRESSION OF VISUAL APPEARANCE HAD BEEN ATTEMPTED

如果视觉这么早就被忽视并沦为其他感官的婢女，那么对于普通成年人来说，它处于如此令人震惊的忽视状态也就不足为奇了。我坚信，对于绝大多数人来说，视觉很少（如果有的话）本身被咨询，而只是为了服务于其他某种感觉。他们仰望天空，看看天气是否晴朗；到田里看看是否干燥到可以行走，或者是否有丰收的干草；在溪边，不是为了观察蓝天或绿色田野在水面上舞动的倒影之美，也不是为了阴影深处的丰富色彩，而是为了计算它有多深，或者它能为磨坊提供多少电力，它包含多少条鱼，或者与它的视觉方面不相干的其他关联。如果一个人抬头看伦敦街道上空的一团细密的积云，普通的路人顺着视线看去，至少会看到一个气球或一架飞行器，而当他看到的只是云时，他很容易注意到不知道一个人在注视着什么。云的美丽形状和颜色似乎是未被观察到的。云对他来说毫无意义，只不过是积聚的水尘，可能会带来降雨。这在某种程度上解释了为什么有很多好画对于大多数人来说是难以理解的。只有那些充分追求物体视觉方面的图片，以包含这些其他联想的暗示，他们才能理解。他们说，其他照片还不够完成。很少有一幅画能够拥有这种微小的认识，同时表达构成优秀绘画的更大的情感品质。

If so early the sense of vision is neglected and relegated to be the handmaiden of other senses, it is no wonder that in the average adult it is in such a shocking state of neglect. I feel convinced that with the great majority of people vision is seldom if ever consulted for itself, but only to minister to some other sense. They look at the sky to see if it is going to be fine; at the fields to see if they are dry enough to walk on, or whether there will be a good crop of hay; at the stream not to observe the beauty of the reflections from the blue sky or green fields dancing upon its surface or the rich colouring of its shadowed depths, but to calculate how deep it is or how much power it would supply to work a mill, how many fish it contains, or some other association alien to its visual aspect. If one looks up at a fine mass of cumulus clouds above a London street, the ordinary passer-by who follows one’s gaze expects to see a balloon or a flying-machine at least, and when he sees it is only clouds he is apt to wonder what one is gazing at. The beautiful form and colour of the cloud seem to be unobserved. Clouds mean nothing to him but an accumulation of water dust that may bring rain. This accounts in some way for the number of good paintings that are incomprehensible to the majority of people. It is only those pictures that pursue the visual aspect of objects to a sufficient completion to contain the suggestion of these other associations, that they understand at all. Other pictures, they say, are not finished enough. And it is so seldom that a picture can have this petty realisation and at the same time be an expression of those larger emotional qualities that constitute good painting.

拉斐尔前派兄弟会的早期绘画似乎是一个引人注目的例外。但在他们的作品中，对所有细节的过度实现是表达的一部分，强调画面基础上的诗意，因此也是艺术意图的一部分。在这些画作中，每一个小细节都被描绘得火热，使它们的画面成为表达诗意思想的现成媒介，一种“画诗”，每一个细节都是根据它所具有的某种象征意义而被选择的，与诗意的想法就是这幅画的对象。

The early paintings of the Pre-Raphaelite Brotherhood appear to be a striking exception to this. But in their work the excessive realisation of all details was part of the expression and gave emphasis to the poetic idea at the basis of their pictures, and was therefore part of the artistic intention. In these paintings the fiery intensity with which every little detail was painted made their picture a ready medium for the expression of poetic thought, a sort of “painted poetry,” every detail being selected on account of some symbolic meaning it had, bearing on the poetic idea that was the object of the picture.

但对于那些不尝试“画诗”，而是在绘画中寻求一种自己的诗，一种视觉诗的画家来说，这种过度的完成（正如它所称的）是令人厌烦的，因为它破坏了他们在视觉中表达这些品质。想要表达。艺术中的完成度与画面中的细节数量无关，而仅指画家想要表达的情感想法已经实现的完整性。

But to those painters who do not attempt “painted poetry,” but seek in painting a poetry of its own, a visual poetry, this excessive finish (as it is called) is irksome, as it mars the expression of those qualities in vision they wish to express. Finish in art has no connection with the amount of detail in a picture, but has reference only to the completeness with which the emotional idea the painter set out to express has been realised.

大多数人的视觉失明是令人深感遗憾的，因为大自然总是在他们的视网膜上提供给他们，即使是在最卑鄙的贫民窟里，一种色彩和形式的音乐对于那些能看到它的人来说是持续的快乐源泉。但很多人只满足于将这种奇妙的视觉能力用于功利目的。艺术家有幸展示所有这些色彩和形式的音乐是多么美妙和美丽，以便人们在他的作品中被它感动，可以被鼓励在周围的事物中看到同样的美。这是支持让艺术成为通识教育科目的最佳论据：它应该教人们去看。不是每个人都需要画画，但如果每个人都能获得将视网膜上的形状和颜色欣赏为形状和颜色的能力，那将是多么巨大的财富可供他们享受！日本人习惯在双腿之间倒转地观看风景，这是一种不受触觉联想影响的观看方式。如此观看，令人惊讶地看到了事物的颜色和形状，一时忘记了触觉的联想，并对美丽感到困惑。奇怪的是，虽然我们看到的东西是颠倒的，但我们视网膜上的图像却是朝上的。因为通常情况下，视觉图像在视网膜上是倒转的，就像照相机背面的毛玻璃上的图像一样。

The visual blindness of the majority of people is greatly to be deplored, as nature is ever offering them on their retina, even in the meanest slum, a music of colour and form that is a constant source of pleasure to those who can see it. But so many are content to use this wonderful faculty of vision for utilitarian purposes only. It is the privilege of the artist to show how wonderful and beautiful is all this music of colour and form, so that people, having been moved by it in his work, may be encouraged to see the same beauty in the things around them. This is the best argument in favour of making art a subject of general education: that it should teach people to see. Everybody does not need to draw and paint, but if everybody could get the faculty of appreciating the form and colour on their retinas as form and colour, what a wealth would always be at their disposal for enjoyment! The Japanese habit of looking at a landscape upside down between their legs is a way of seeing without the deadening influence of touch associations. Thus looking, one is surprised into seeing for once the colour and form of things with the association of touch for the moment forgotten, and is puzzled at the beauty. The odd thing is that although thus we see things upside down, the pictures on our retinas are for once the right way up; for ordinarily the visual picture is inverted on the retina, like that on the ground glass at the back of a photographic camera.

为了总结这一有点散漫的章节，我尽力表明可以从两个方面来理解客观世界。有一种纯粹的心理感知，主要建立在与视觉相关的触觉所衍生的知识之上，其原始本能是在物体周围画出轮廓，以代表它们在空间中的边界。其次，是视觉感知，它与物体出现在视网膜上时的视觉方面有关；颜色形状的排列，一种颜色的马赛克。这两个方面为我们提供了两种不同的观点，可以从这两种观点来处理可见事物的表示。

To sum up this somewhat rambling chapter, I have endeavoured to show that there are two aspects from which the objective world can be apprehended. There is the purely mental perception founded chiefly on knowledge derived from our sense of touch associated with vision, whose primitive instinct is to put an outline round objects as representing their boundaries in space. And secondly, there is the visual perception, which is concerned with the visual aspects of objects as they appear on the retina; an arrangement of colour shapes, a sort of mosaic of colour. And these two aspects give us two different points of view from which the representation of visible things can be approached.

当任一观点的表述足够深入时，结果都非常相似。在轮廓图的基础上添加光影、色彩、空中透视等的作品最终可能会接近完美的视觉外观。相反，从纯粹视觉的角度接近的表征，视网膜上的色彩马赛克，如果推得足够远，可能会满足通过触摸联想对形式的心理感知。当然，这两种观点是密切相关的。如果不观察物体在视野中​​所占据的形状，就无法准确地勾勒出物体的轮廓。如果不非常清楚所描绘的色彩群的客观意义，就很难考虑“色彩形式的马赛克”。但它们提出了两种完全不同且相反的观点，可以从这些观点来接近对象的表示。在考虑绘画的主题时，我认为有必要对主题进行这样的划分，并且这两种形式表达的方法都应该由学生学习。我们将第一种方法称为“线条绘制”，将第二种方法称为“质量绘制”。大多数现代绘画都是这两种观点的混合体，但如果要避免混淆，应该分别研究它们。如果学生忽视了线条画，他的作品就会缺乏形式的表现意义，而只有对线条的感觉似乎才具有传达的秘密；而如果他忽视了大规模绘画，那么当他用充满颜料的画笔来表达形式时，他的装备就会很差。

When the representation from either point of view is carried far enough, the result is very similar. Work built up on outline drawing to which has been added light and shade, colour, aerial perspective, &c., may eventually approximate to the perfect visual appearance. And inversely, representations approached from the point of view of pure vision, the mosaic of colour on the retina, if pushed far enough, may satisfy the mental perception of form with its touch associations. And of course the two points of view are intimately connected. You cannot put an accurate outline round an object without observing the shape it occupies in the field of vision. And it is difficult to consider the “mosaic of colour forms ” without being very conscious of the objective significance of the colour masses portrayed. But they present two entirely different and opposite points of view from which the representation of objects can be approached. In considering the subject of drawing I think it necessary to make this division of the subject, and both methods of form expression should be studied by the student. Let us call the first method Line Drawing and the second Mass Drawing. Most modern drawing is a mixture of both these points of view, but they should be studied separately if confusion is to be avoided. If the student neglects line drawing, his work will lack the expressive significance of form that only a feeling for lines seems to have the secret of conveying; while, if he neglects mass drawing, he will be poorly equipped when he comes to express form with a brush full of paint to work with.

四号

IV

线条图

LINE DRAWING

历史上我们所知的大多数最早的绘画形式，就像我们在上一章讨论的儿童绘画一样，很大程度上都是轮廓图的性质。考虑到线条与整个视觉现象之间的关系有些遥远，这是一个值得注意的事实。轮廓只能说是作为体块的边界而存在于表象中的。但即使在这里，从视觉的角度来看，一条线似乎也是一件糟糕的事情。因为边界并不总是明确定义的，而是不断地融入周围的质量中，并在稍后再次被追上并再次被定义。它与视觉外观的关系不足以证明线条画的本能是合理的。我想，正如已经说过的，它来自于触觉。当感觉到一个物体时，并没有与周围的质量融为一体，而是对其边界有一个明确的定义，头脑本能地将其设想为一条线。

MOST of the earliest forms of drawing known to us in history, like those of the child we were discussing in the last chapter, are largely in the nature of outline drawings. This is a remarkable fact considering the somewhat remote relation lines have to the complete phenomena of vision. Outlines can only be said to exist in appearances as the boundaries of masses. But even here a line seems a poor thing from the visual point of view; as the boundaries are not always clearly defined, but are continually merging into the surrounding mass and losing themselves to be caught up again later on and defined once more. Its relationship with visual appearances is not sufficient to justify the instinct for line drawing. It comes, I think, as has already been said, from the sense of touch. When an object is felt there is no merging in the surrounding mass, but a firm definition of its boundary, which the mind instinctively conceives as a line.

线条画比绘画艺术中的其他任何东西都更能直接地吸引想象力。精美设计所带来的情感刺激很大程度上归功于线条。线条所具有的本能地引导视线沿着其路线的力量也具有最大的价值，使艺术家能够将观看者的注意力集中在他希望的地方。然后，线条及其关系中有一种和谐的感觉，一种线条的音乐，是所有优秀艺术的基础。但这个话题将在稍后讨论线路节奏时讨论。

There is a more direct appeal to the imagination in line drawing than in possibly anything else in pictorial art. The emotional stimulus given by fine design is due largely to line work. The power a line possesses of instinctively directing the eye along its course is of the utmost value also, enabling the artist to concentrate the attention of the beholder where he wishes. Then there is a harmonic sense in lines and their relationships, a music of line that is found at the basis of all good art. But this subject will be treated later on when talking of line rhythm.

大多数作品对想象力具有巨大吸引力的艺术家都非常重视线条的价值。布莱克的视觉知识是那么微不足道，但他的心灵感知却是那么伟大，却始终坚持着它的价值。他的设计是其对想象力的强大吸引力的绝佳例子。

Most artists whose work makes a large appeal to the imagination are strong on the value of line. Blake, whose visual knowledge was such a negligible quantity, but whose mental perceptions were so magnificent, was always insisting on its value. And his designs are splendid examples of its powerful appeal to the imagination.

在此基础上白描艺术得以发展。早期的埃及壁画是有色的轮廓，最早的墙壁雕塑是雕刻的轮廓。在这些切割线之后，一些天才想到了将轮廓之间的墙壁表面切掉并以浅浮雕的形式进行建模。这种外观可能让在墙上画轮廓的人想到了在轮廓之间画阴影的想法。

On this basis of line drawing the development of art proceeded. The early Egyptian wall paintings were outlines tinted, and the earliest wall sculpture was an incised outline. After these incised lines some man of genius thought of cutting away the surface of the wall between the outlines and modelling it in low relief. The appearance of this may have suggested to the man painting his outline on the wall the idea of shading between his outlines.

无论如何，下一步的发展是引入了一点阴影，以减轻线条的平坦度并建议建模。直到意大利文艺复兴时期，事物一直朝着形式表现的方向发展。波提切利仅使用浅色阴影的轮廓来表示形式。直到列奥纳多·达·芬奇之前，人们才认真地认识光和影。人们认为这是一个奇妙的发现，确实如此，尽管似乎很难理解人们的眼睛长期以来一直在他们面前的光影现象。但这只是另一个不能经常强调的证据，即眼睛只能看到它在寻找的东西，甚至可能还有同样奇妙的东西有待在视觉中发现。

At any rate the next development was the introduction of a little shading to relieve the flatness of the line-work and suggest modelling. And this was as far as things had gone in the direction of the representation of form, until well on in the Italian Renaissance. Botticelli used nothing else than an outline lightly shaded to indicate form. Light and shade were not seriously perceived until Leonardo da Vinci. And a wonderful discovery it was thought to be, and was, indeed, although it seems difficult to understand where men’s eyes had been for so long with the phenomena of light and shade before them all the time. But this is only another proof of what cannot be too often insisted on, namely that the eye only sees what it is on the look-out for, and it may even be there are things just as wonderful yet to be discovered in vision.

但对物体的触摸联想仍然占主导地位。正是在这种感觉所要求的轮廓内，光和影被引入到物体上。艺术仍然具有吸引力的是“空间中的固体”的想法。

But it was still the touch association of an object that was the dominant one; it was within the outline demanded by this sense that the light and shade were to be introduced as something as it were put on the object. It was the “solids in space ” idea that art was still appealing to.

“画家的首要目标是使一个简单的平面看起来像浮雕，并且它的某些部分与地面分离；^{列奥纳多·达·芬奇（Leonardo da Vinci）写道：“在这}方面艺术中超越所有人的人应该得到最大的赞扬。”而坚持这种“突出”的品质，及其对触觉的吸引力，作为艺术中的伟大事物，听起来很奇怪在这些日子里。但必须记住，创造这种幻象的方法对所有人来说都是新鲜的，并且令人非常好奇。

“The first object of a painter is to make a simple flat surface appear like a relievo, and some of its parts detached from the ground; he who excels all others in that part of the art deserves the greatest praise,”¹ wrote Leonardo da Vinci, and the insistence on this “standing out ” quality, with its appeal to the touch sense as something great in art, sounds very strange in these days. But it must be remembered that the means of creating this illusion were new to all and greatly wondered at.

列奥纳多在他的论文第 176 段中再次写道：“大纲的知识是最重要的，但可以通过研究获得很大的确定性；” 因为人体的轮廓，特别是那些不弯曲的轮廓，总是相同的。但关于阴影的情况、质量和数量的知识是无限的，需要最广泛的研究。”

And again, in paragraph 176 of his treatise, Leonardo writes: “ The knowledge of the outline is of most consequence, and yet may be acquired to great certainty by dint of study; as the outlines of the human figure, particularly those which do not bend, are invariably the same. But the knowledge of the situation, quality and quantity of shadows, being infinite, requires the most extensive study.”

人体轮廓“一成不变”？这是什么意思？从视觉的角度我们知道，我们视野中的人物所占据的空间并非“一成不变”，而是千差万别。所以他所说的不可能是视觉外观。它只能指对人物各部分形状的心理观念。“尤不屈者”也说明了这一点，因为当身体弯曲时，连其形体的心念也必须改变。目前还没有任何迹象表明视觉被用于自身，但仅限于它产生的材料来刺激这种外部世界的心理观念。

The outlines of the human figure are “ invariably the same ”? What does this mean? From the visual point of view we know that the space occupied by figures in the field of our vision is by no means “ invariably the same,” but of great variety. So it cannot be the visual appearance he is speaking about. It can only refer to the mental idea of the shape of the members of the human figure. The remark “particularly those that do not bend ” shows this also, for when the body is bent up even the mental idea of its form must be altered. There is no hint yet of vision being exploited for itself, but only in so far as it yielded material to stimulate this mental idea of the exterior world.

板九

Plate IX

华托的研究

STUDY BY WATTEAU

来自 Charles Ricketts 和 Charles Shannen 收藏的原画。

From an original drawing in the collection of Charles Ricketts and Charles Shannen.

在使用这种光影（或所谓的明暗对比）的人的整个工作中，轮廓基础仍然存在。列奥纳多、拉斐尔、米开朗基罗、提香和威尼斯人都忠实于它作为将他们的画结合在一起的手段。尽管威尼斯人通过融合轮廓体的边缘，非常接近委拉斯开兹后来引入的视觉方法。

All through the work of the men who used this light and shade (or chiaroscuro, as it was called) the outline basis remained. Leonardo, Raphael, Michael Angelo, Titian, and the Venetians were all faithful to it as the means of holding their pictures together; although the Venetians, by fusing the edges of their outline masses, got very near the visual method to be introduced later by Velazquez.

就这样，从简单的轮廓形式开始，艺术一点一点地成长起来，每一个新的视觉外观细节都被发现，为艺术家可以使用的管弦乐队添加了另一种乐器，使他能够添加相对于早期作品略显粗糙的直接和简单，较复杂作品的优雅和精致，使构图问题变得更加困难，但增加了表达的范围。

In this way, little by little, starting from a basis of simple outline forms, art grew up, each new detail of visual appearance discovered adding, as it were, another instrument to the orchestra at the disposal of the artist, enabling him to add to the somewhat crude directness and simplicity of the early work the graces and refinements of the more complex work, making the problem of composition more difficult but increasing the range of its expression.

但艺术家所使用的视觉公式的这些补充并不全是收获；波提切利所使用的简单手段赋予了他的作品纯真和富有想象力的吸引力，很难想象用后来的流派更完整的视觉实现来保存这种吸引力。当对实际外观的认识最为完整时，思想很容易被与所代表的事物相关的次要问题所引导，而不是看到艺术家通过它们表达的情感意图。头脑很容易离开画面，而是通过它来观察，而不是看着它，去追寻与被呈现为真实物体的物体相关的一系列思维，但与画面的艺术意图相悖。这些早期的公式中没有任何东西可以干扰对纯粹形式和色彩的情感诉求的沉思。对于那些认为表现自然、“使其看起来像真实的事物”是绘画的唯一目的的人来说，像波提切利这样的画作的外观一定是多么奇怪。

But these additions to the visual formula used by artists was not all gain; the simplicity of the means at the disposal of a Botticelli gives an innocence and imaginative appeal to his work that it is difficult to think of preserving with the more complete visual realisation of later schools. When the realisation of actual appearance is most complete, the mind is liable to be led away by side issues connected with the things represented, instead of seeing the emotional intentions of the artist expressed through them. The mind is apt to leave the picture and looking, as it were, not at it but through it, to pursue a train of thought associated with the objects represented as real objects, but alien to the artistic intention of the picture. There is nothing in these early formulæ to disturb the contemplation of the emotional appeal of pure form and colour. To those who approach a picture with the idea that the representation of nature, the “ making it look like the real thing,” is the sole object of painting, how strange must be the appearance of such pictures as Botticelli’s.

艺术中视觉观察细节的积累最终可能会模糊主要思想，扰乱艺术作品的想象力所依赖的大设计感。十九世纪的自然主义运动所带来的大量新视觉知识在此时尤其容易掩盖所有优秀艺术赖以建立的更简单、更原始的品质。在那次运动的鼎盛时期，线条画已经过时了，木炭和一种叫做树桩的可怕东西取代了学校的重点。木炭对于灵巧的手来说是一种美丽的媒介，但它更适合大规模而不是线条画。关于树桩的说法越少越好，尽管我相信它仍然存在于一些学校中。

The accumulation of the details of visual observation in art is liable eventually to obscure the main idea and disturb the large sense of design on which so much of the imaginative appeal of a work of art depends. The large amount of new visual knowledge that the naturalistic movements of the nineteenth century brought to light is particularly liable at this time to obscure the simpler and more primitive qualities on which all good art is built. At the height of that movement line drawing went out of fashion, and charcoal, and an awful thing called a stump, took the place of the point in the schools. Charcoal is a beautiful medium in a dexterous hand, but is more adaptable to mass than to line drawing. The less said about the stump the better, although I believe it still lingers on in some schools.

线条画正在令人高兴地复兴，没有什么比这更能让自然主义绘画的变幻莫测注入新的生命和力量，并让艺术重新获得精致的设计感。

Line drawing is happily reviving, and nothing is so calculated to put new life and strength into the vagaries of naturalistic painting and get back into art a fine sense of design.

过多的自然主义细节的积累掩盖了艺术的直接吸引力，以及由此带来的力量的丧失，这是艺术家偶尔回到更原始的惯例的原因。希腊出现了仿古运动，像罗塞蒂和伯恩琼斯这样的人找到了更好的方式来表达十四世纪技术中令他们感动的事物。毫无疑问，正是现代学派的精心实现对艺术作为一种表现力的影响力日渐减弱的感觉，促使皮维斯·德·沙凡纳为自己发明了他那巨大的原始风格。值得注意的是，在这些情况下，这些艺术家与同时代艺术家的区别主要在于对轮廓的坚持。

This obscuring of the direct appeal of art by the accumulation of too much naturalistic detail, and the loss of power it entails, is the cause of artists having occasionally gone back to a more primitive convention. There was the Archaistic movement in Greece, and men like Rossetti and Burne-Jones found a better means of expressing the things that moved them in the technique of the fourteenth century. And it was no doubt a feeling of the weakening influence on art, as an expressive force, of the elaborate realisations of the modern school, that prompted Puvis de Chavannes to invent for himself his large primitive manner. It will be noticed that in these instances it is chiefly the insistence upon outline that distinguishes these artists from their contemporaries.

艺术和生活一样，如果脱离原始条件太远，就容易衰弱。但是，就像生活一样，如果它只有原始的条件来支撑它，那么它就是一件可怜的事情，也是一件非常粗鲁的事情。因为存在着一种颓废的艺术，所以没有必要把铺路艺术家当作英雄。但是，学生们最好不要像现在在许多地方流行的那样，极端地蔑视艺术所继承的几个世纪的文化，最好首先学习不同流派的早期作品，而不是晚期作品，以便接触优秀作品赖以构建的简单设计条件。当这些基本品质没有被如此多的视觉实现知识所覆盖时，研究这些基本品质会更容易。任何流派早期作品的画面骨架都比后期作品更加明显。

Art, like life, is apt to languish if it gets too far away from primitive conditions. But, like life also, it is a poor thing and a very uncouth affair if it has nothing but primitive conditions to recommend it. Because there is a decadent art about, one need not make a hero of the pavement artist. But without going to the extreme of flouting the centuries of culture that art inherits, as it is now fashionable in many places to do, students will do well to study at first the early rather than the late work of the different schools, so as to get in touch with the simple conditions of design on which good work is built. It is easier to study these essential qualities when they are not overlaid by so much knowledge of visual realisation. The skeleton of the picture is more apparent in the earlier than the later work of any school.

世界上最精致、最有文化的艺术与原始艺术相结合的最好例子可能就是雅典的帕台农神庙，这座建筑两千多年来一直是艺术界的奇迹。不仅大英博物馆中的雕塑碎片令人惊叹，而且其建筑的美丽和比例也是如此精致，我认为这是当今从未尝试过的。现在有哪位建筑师想到通过稍微弯曲来纠正硬直线的缺陷？或者将立面的柱子稍微向内倾斜以增加其外观的强度？这些变化的数量非常微小，并且证明了所尝试的改进程度。然而，尽管如此，多么简单！那一排庄严的柱子从没有任何底座的台阶上牢固地升起，具有巨石阵原始的力量。尽管它非常宏伟，但它仍然保留着它所演变而来的小屋的简单性。

The finest example of the union of the primitive with the most refined and cultured art the world has ever seen is probably the Parthenon at Athens, a building that has been the wonder of the artistic world for over two thousand years. Not only are the fragments of its sculptures in the British Museum amazing, but the beauty and proportions of its architecture are of a refinement that is, I think, never even attempted in these days. What architect now thinks of correcting the poorness of hard, straight lines by very slightly curving them? Or of slightly sloping inwards the columns of his facade to add to the strength of its appearance? The amount of these variations is of the very slightest and bears witness to the pitch of refinement attempted. And yet, with it all, how simple! There is something of the primitive strength of Stonehenge in that solemn row of columns rising firmly from the steps without any base. With all its magnificence, it still retains the simplicity of the hut from which it was evolved.

在米开朗基罗的艺术中也可以看到同样的原始宏伟和力量与精致细腻的视觉效果的结合。他的追随者继承了他们主人的高大、肌肉发达的体型，但失去了他所表现出的原始力量。当这种原始力量被忽视时，一种多么颓废的感觉开始了！

Something of the same combination of primitive grandeur and strength with exquisite refinement of visualisation is seen in the art of Michael Angelo. His followers adopted the big, muscular type of their master, but lost the primitive strength he expressed; and when this primitive force was lost sight of, what a decadence set in!

这是艺术达到最高境界的时刻：在早期艺术的原始力量和简单性基础上，添加文化的无限精致和优雅，而不破坏或削弱表达的崇高性。

This is the point at which art reaches its highest mark: when to the primitive strength and simplicity of early art are added the infinite refinements and graces of culture without destroying or weakening the sublimity of the expression.

在绘画中，文化的精致和优雅表现为对自然现象的日益真实，一点一点地增加了早期作品的原始秃顶；直到达到这一点，就像十九世纪那样，显然视觉本质的全部事实都被纳入其中。从这些丰富的视觉材料中，必须加上我们现在对东方、中国、日本和印度艺术的了解，现代艺术家必须选择那些吸引他的东西；必须选择那些能够满足他作为艺术家表达自己的最需要的元素。难怪我们正在经历一段艺术消化不良的时期，难怪我们的展览，特别是在欧洲大陆的展览，充满了奇怪的东西。艺术家面前的问题从未如此复杂，但也从未如此有趣。新的形式、新的组合、新的简化都将被发现。但对学生来说，线路工作的稳定影响和纪律从未如此重要。

In painting, the refinement and graces of culture take the form of an increasing truth to natural appearances, added bit by bit to the primitive baldness of early work; until the point is reached, as it was in the nineteenth century, when apparently the whole facts of visual nature are incorporated. From this wealth of visual material, to which must be added the knowledge we now have of the arts of the East, of China, Japan, and India, the modern artist has to select those things that appeal to him; has to select those elements that answer to his inmost need of expressing himself as an artist. No wonder a period of artistic dyspepsia is upon us, no wonder our exhibitions, particularly those on the Continent, are full of strange, weird things. The problem before the artist was never so complex, but also never so interesting. New forms, new combinations, new simplifications are to be found. But the steadying influence and discipline of line work were never more necessary to the student.

我们面临失去的原始力量在很大程度上取决于线条，任何旨在产生崇高印象的作品都离不开精心制作和简单的线条方案的基础。

The primitive force we are in danger of losing depends much on line, and no work that aims at a sublime impression can dispense with the basis of a carefully wrought and simple line scheme.

因此，研究纯线画对于画家来说非常重要，大师们以这种方法创作的大量作品表明了他们对其价值的理解程度。

The study, therefore, of pure line drawing is of great importance to the painter, and the numerous drawings that exist by the great masters in this method show how much they understood its value.

线条画的复兴，以及在此基础上找到一种更简单的惯例的愿望，是当今艺术中最有希望的标志之一。

And the revival of line drawing, and the desire there is to find a simpler convention founded on this basis, are among the most hopeful signs in the art of the moment.

V

V

质量图

MASS DRAWING

我希望在前一章中已经表明，轮廓画是西方艺术家的一种本能，而且从最早的时代开始就是如此。这种本能是由于这样一个事实，即一个物体的第一个心理想法是其形式的感觉，作为一个可感觉到的东西，而不是一个看到的东西；轮廓图满足并直接吸引了这种对物体的心理观念。

IN the preceding chapter it has, I hope, been shown that outline drawing is an instinct with Western artists and has been so from the earliest times; that this instinct is due to the fact that the first mental idea of an object is the sense of its form as a felt thing, not a thing seen; and that an outline drawing satisfies and appeals directly to this mental idea of objects.

但还有另一种与视觉外观直接相关的表达基础，它随着时间的推移而发展起来，并对现代艺术产生了很大的影响。这种绘画形式是基于对视网膜上平面外观的考虑，暂时忘记了物体的感觉形状的知识。与线条画相反，我们可以称之为质量画。

But there is another basis of expression directly related to visual appearances that in the fulness of time was evolved, and has had a very great influence on modern art. This form of drawing is based on the consideration of the flat appearances on the retina, with the knowledge of the felt shapes of objects for the time being forgotten. In opposition to line drawing, we may call this Mass Drawing.

这种观点的科学道理是显而易见的。如果准确地复制自然的外观是艺术的唯一对象（这是学生们都会遇到的想法），那么绘画的问题就会比现在简单，并且很可能很快就会被照相机解决。

The scientific truth of this point of view is obvious. If only the accurate copying of the appearances of nature were the sole object of art (an idea to be met with among students) the problem of painting would be simpler than it is, and would be likely ere long to be solved by the photographic camera.

当手中充满颜料的画笔时，这种绘画形式是自然的表达方式。将复杂的外观还原为几个简单的物体是画家的首要需要。但这将在后面更实际地讨论大众绘画实践的章节中得到充分解释。

This form of drawing is the natural means of expression when a brush full of paint is in your hands. The reducing of a complicated appearance to a few simple masses is the first necessity of the painter. But this will be fully explained in a later chapter treating more practically of the practice of mass drawing.

板 X

Plate X

吕梁 15 世纪中国作品示例（大英博物馆）

EXAMPLE OF FIFTEENTH-CENTURY CHINESE WORK By LUI LIANG (BRITISH MUSEUM)

展示了早期中国大师如何发展大众绘画的观点。

Showing how early Chinese masters had developed the mass-drawing point of view.

直到最近，中国和日本的艺术似乎比西方艺术更受这种自然现象观的影响。东方人的思想似乎并不像西方人那样痴迷于事物的客观性。对我们来说，实际的触觉是非常强大的。“我知道是这样，因为我用手感觉到了”是我们的典型表达方式。但我认为东方人不会使用这种表达方式。从他们的艺术来看，他们所看到的事物的精神本质似乎更加真实。谁能说他们可能不对呢？这当然是人们从他们美丽的画作中得到的印象，其质地轻盈，避免了坚固。它建立在自然被视为平面视觉的基础上，而不是空间中固体的集合。他们对线条的使用也比我们要克制得多，很少用来强调事物的坚固性，而主要是用来支撑群众的界限和暗示细节。象征坚固的光与影从来不被使用，没有阴影的宽广的光笼罩着一切，他们的绘画是用画笔大量完成的。

The art of China and Japan appears to have been more influenced by this view of natural appearances than that of the West has been, until quite lately. The Eastern mind does not seem to be so obsessed by the objectivity of things as is the Western mind. With us the practical sense of touch is all powerful. “ I know that is so, because I felt it with my hands ” would be a characteristic expression with us. Whereas I do not think it would be an expression the Eastern mind would use. With them the spiritual essence of the thing seen appears to be the more real, judging from their art. And who is to say they may not be right? This is certainly the impression one gets from their beautiful painting, with its lightness of texture and avoidance of solidity. It is founded on nature regarded as a flat vision, instead of a collection of solids in space. Their use of line is also much more restrained than with us, and it is seldom used to accentuate the solidity of things, but chiefly to support the boundaries of masses and suggest detail. Light and shade, which suggest solidity, are never used, a wide light where there is no shadow pervades everything, their drawing being done with the brush in masses.

就像在提香时代一样，西方艺术已经发现了光与影、线性透视、空中透视等，并开始通过融合群众的边缘来怀疑绘画的必要性，以广泛分散的焦点，他们已经非常接近将外观视为一个视觉整体了。但直到委拉斯凯兹才画出一幅完全建立在视觉表象之上的图画，其中客观轮廓的基础被丢弃，取而代之的是色调结构。

When, as in the time of Titian, the art of the West had discovered light and shade, linear perspective, aerial perspective, &c., and had begun by fusing the edges of the masses to suspect the necessity of painting to a widely diffused focus, they had got very near considering appearances as a visual whole. But it was not until Velazquez that a picture was painted that was founded entirely on visual appearances, in which a basis of objective outlines was discarded and replaced by a structure of tone masses.

当委拉斯开兹把自己的画室里的小公主和她的侍女作为题材时，他似乎完全把它当作一种平面的视觉印象。焦点集中在公主身上，两侧的人物或多或少都处于焦点之外，最右边的人物则相当模糊。不幸的是，这里给出的复制品没有显示这些微妙之处，并且使总体外观变得非常扁平。焦点不清晰，因为这会扰乱对大视觉印象的思考。我认为，在那里，第一次将自然视觉、色调、色彩、形式、明暗、气氛、焦点等的整个范围，被视为一个印象，都放在画布上。

When he took his own painting room with the little Infanta and her maids as a subject, Velazquez seems to have considered it entirely as one flat visual impression. The focal attention is centred on the Infanta, with the figures on either side more or less out of focus, those on the extreme right being quite blurred. The reproduction here given unfortunately does not show these subtleties, and flattens the general appearance very much. The focus is nowhere sharp, as this would disturb the contemplation of the large visual impression. And there, I think, for the first time, the whole gamut of natural vision, tone, colour, form, light and shade, atmosphere, focus, &c., considered as one impression, were put on canvas.

所有的设计感都消失了。图片没有表面；框架的四个边缘之间充满了气氛，而物体就在里面。放置在普拉多内，光线如图所示从右侧射出，眼前的真人与里面的人物之间没有任何隔阂，只是由于年代久远，面纱泛黄了。

All sense of design is lost. The picture has no surface; it is all atmosphere between the four edges of the frame, and the objects are within. Placed as it is in the Prado, with the light coming from the right as in the picture, there is no break between the real people before it and the figures within, except the slight yellow veil due to age.

尽管这幅画很精彩，作为一场“力作之旅”，就像他在国家美术馆同期展出的《维纳斯》一样，但它是一幅画家的画，给那些对绘画技巧不感兴趣的人留下了冰冷的印象。随着精细轮廓设计的原始支持的消失，以及那些向心灵传达精细形式刺激的口音的缺失，艺术已经失去了很多情感意义。

But wonderful as this picture is, as a “ tour do force,” like his Venus of the same period in the National Gallery, it is a painter’s picture, and makes but a cold impression on those not interested in the technique of painting. With the cutting away of the primitive support of fine outline design and the absence of those accents conveying a fine form stimulus to the mind, art has lost much of its emotional significance.

第十一版

Plate XI

照片安德森

Photo Anderson

拉斯梅尼尼亚斯。委拉斯开兹 (普拉多)

LAS MENIÑAS. By VELAZQUEZ (PRADO)

可能是第一幅完全从视觉或印象派角度绘制的画作。

Probably the first picture ever painted entirely from the visual or impressionist standpoint.

但艺术获得了新的观点。通过这种主观地考虑外观的方式——这种被称为“印象派视觉”——许多东西，无论是从形状还是联想来看，都太丑陋了，无法为画家提供材料，但当被视为绘画的一部分时，却发现了这些东西。视网膜上的色彩感觉方案，艺术家在情感上和节奏上进行考虑，以使其产生新的、美丽的和谐和早期公式无法想象的“整体”。此外，根据旧的光影原理（例如，阳光透过树林中的树木）考虑，许多对于绘画来说过于复杂的光效果被发现非常适合绘画，被认为是各种颜色质量的印象。早期的公式永远无法摆脱作为固体的物体，因此不得不将其注意力限制在美丽的物体上。但从新的角度来看，形式是由视网膜上大量色彩的形状和品质组成的。对于印象派来说，什么物体恰好是这些形状的外部原因并不重要。当从美丽的光的侧面看时，没有什么是丑陋的，而侧面就是一切。

But art has gained a new point of view. With this subjective way of considering appearances—this “impressionist vision,” as it has been called—many things that were too ugly, either from shape or association, to yield material for the painter, were yet found, when viewed as part of a scheme of colour sensations on the retina which the artist considers emotionally and rhythmically, to lend themselves to new and beautiful harmonies and “ ensembles ” undreamt of by the earlier formulae. And further, many effects of light that were too hopelessly complicated for painting, considered on the old light and shade principles (for instance, sunlight through trees in a wood), were found to be quite paintable, considered as an impression of various colour masses. The early formula could never free itself from the object as a solid thing, and had consequently to confine its attention to beautiful ones. But from the new point of view, form consists of the shape and qualities of masses of colour on the retina; and what objects happen to be the outside cause of these shapes matters little to the impressionist. Nothing is ugly when seen in a beautiful aspect of light, and aspect is with them everything.

首先对视觉外观的考虑需要增加对模型的依赖。由于艺术家现在不再从他的精神感知中进行绘画，所以他没有什么可以选择他的画作的材料，直到它作为一个可见的东西存在于他面前：直到他在他的脑海中对它有了一个视觉印象。根据较旧的观点（可以说，基于对象的心理观念的图形描述的表示），模型并不是那么必要。就印象派而言，心理感知是从视觉印象中获得的，而在旧观点中，视觉印象是心理感知的结果。因此，印象派运动主要创作了受我们周围视觉现象的现实世界启发的绘画，而旧观点产生的大部分绘画灵感都来自想象力的辉煌，即人们头脑中的精神世界。艺术家。尽管人们正在做出有趣的尝试来创作基于印象派光和空气观点的富有想象力的作品，但由于闪烁、气氛等对轮廓的破坏而导致想象力吸引力的丧失，以及随之而来的线条节奏的丧失，到目前为止还没有产生任何非常令人满意的结果。但毫无疑问，这一运动带来了许多新材料等待人们发挥想象力。它为表达品质的选择提供了一个新的领域。

This consideration of the visual appearance in the first place necessitated an increased dependence on the model. As he does not now draw from his mental perceptions the artist has nothing to select the material of his picture from until it has existed as a seen thing before him: until he has a visual impression of it in his mind. With the older point of view (the representation by a pictorial description, as it were, based on the mental idea of an object), the model was not so necessary. In the case of the Impressionist the mental perception is arrived at from the visual impression, and in the older point of view the visual impression is the result of the mental perception. Thus it happens that the Impressionist movement has produced chiefly pictures inspired by the actual world of visual phenomena around us, the older point of view producing most of the pictures deriving their inspiration from the glories of the imagination, the mental world in the mind of the artist. And although interesting attempts are being made to produce imaginative works founded on the impressionist point of view of light and air, the loss of imaginative appeal consequent upon the destruction of contours by scintillation, atmosphere, &c., and the loss of line rhythm it entails, have so far prevented the production of any very satisfactory results. But undoubtedly there is much new material brought to light by this movement waiting to be used imaginatively; and it offers a new field for the selection of expressive qualities.

这种观点虽然在一定程度上在西班牙学派中继续存在，但直到上世纪法国才得到普遍认可。最极端的代表是围绕克劳德·莫奈的艺术家团体。正如批评家所说，这场印象派运动是仅仅从视觉角度考虑自然的强烈决心的结果，对与视觉有关的任何其他联系不做出让步。其结果是一种全新的自然视野，对于那些不习惯从纯粹视觉角度观察、只习惯于看到“事物的感觉”的眼睛来说，是令人震惊和厌恶的。而最初的结果自然是相当粗糙的。但大量新的视觉事实被曝光，特别是那些与阳光和半光效果绘画相关的事实。事实上，整个强光画作已经永久地受到了这群画家的作品的影响。从客观世界中解放出来，他们不再解剖物体来看看里面有什么，而是研究从物体折射到眼睛的光线的解剖结构。发现它是由太阳光谱中看到的彩虹的所有颜色组成的，并且大自然产生的所有效果都是由这些颜色的不同比例完成的，他们采用了它们，或者他们可以得到的最接近的颜料，用于他们的调色板消除了大地色和黑色。此外，他们发现大自然的颜色（彩色光线）混合时产生的结果与相应颜料混合在一起时产生的结果不同，因此他们决定使用尽可能纯净的颜料，将它们放在一起混合。通过这种方式，混合物是一种纯色光线，而不是颜料。

This point of view, although continuing to some extent in the Spanish school, did not come into general recognition until the last century in France. The most extreme exponents of it are the body of artists who grouped themselves round Claude Monet. This impressionist movement, as the critics have labelled it, was the result of a fierce determination to consider nature solely from the visual point of view, making no concessions to any other associations connected with sight. The result was an entirely new vision of nature, startling and repulsive to eyes unaccustomed to observation from a purely visual point of view and used only to seeing the “ feel of things,” as it were. And the first results were naturally rather crude. But a great amount of new visual facts were brought to light, particularly those connected with the painting of sunlight and half light effects. Indeed the whole painting of strong light has been permanently affected by the work of this group of painters. Emancipated from the objective world, they no longer dissected the object to see what was inside it, but studied rather the anatomy of the light refracted from it to their eyes. Finding this to be composed of all the colours of the rainbow as seen in the solar spectrum, and that all the effects nature produced are done with different proportions of these colours, they took them, or the nearest pigments they could get to them, for their palette, eliminating the earth colours and black. And further, finding that nature’s colours (the rays of coloured light) when mixed produced different results than their corresponding pigments mixed together, they determined to use their paints as pure as possible, placing them one against the other to be mixed as they came to the eye, the mixture being one of pure colour rays, not pigments, by this means.

但我们在这里只关心影响形式的运动，并且必须避免迷人的色彩领域。

But we are here only concerned with the movement as it affected form, and must avoid the fascinating province of colour.

那些在旧式轮廓形式中长大的人说，这些印象派画中没有绘画，从上一章讨论的形式心理观念来看，确实没有什么，但有印象已经达到足够明确的焦点，触感和坚固感可能会得到满足。但这种新观点的特定领域，即被视为脱离客观性的印象的色调和色彩关系之美，并没有诱使他们将他们的工作进行到如此程度，否则对这些特殊品质的坚持就会消失。

Those who had been brought up in the old school of outline form said there was no drawing in these impressionist pictures, and from the point of view of the mental idea of form discussed in the last chapter, there was indeed little, although, had the impression been realised to a sufficiently definite focus, the sense of touch and solidity would probably have been satisfied. But the particular field of this new point of view, the beauty of tone and colour relations considered as an impression apart from objectivity, did not tempt them to carry their work so far as this, or the insistence on these particular qualities would have been lost.

尽管这种观点所开辟的视觉音乐新世界既有趣又诱人，但人们开始意识到它在某种程度上未能令人满意。首先，仅用眼睛看到的隐含假设是错误的：

But interesting and alluring as is the new world of visual music opened up by this point of view, it is beginning to be realised that it has failed somehow to satisfy. In the first place, the implied assumption that one sees with the eye alone is wrong:

正是眼睛后面的心灵提供了这种感知方式：人们用心灵去看。任何图片的最终效果，无论是印象派的、后派的、反派的还是其他的——都是它刺激大脑中这些心理感知的力量。

and it is the mind behind the eye that supplies this means of perception: one sees with the mind. The ultimate effect of any picture, be it impressionist, post, anti, or otherwise—is its power to stimulate these mental perceptions within the mind.

但即使从现代艺术所津津乐道的真实视觉感知（如果有的话）的角度来看，视网膜图像的复制也并不是那么成功。一个让我们感动的场景所带来的印象并不是它完整的视觉方面。只有那些对感觉印象重要的事物才会被头脑所保留；如果图片要真实地表现这一点，就必须从大量无关的内容中剔除出重要的事实，并以生动的方式呈现出来。印象派在自然面前绘画的习惯完全不是为了做到这一点。一次又一次地去同一个地方，即使等待相似的天气条件，虽然对于研究来说足够好，但不利于拍摄出精美的照片。艺术家每到一个选定的地点，都会得到不同的印象，因此他要么必须每次都画遍整个画面，这样他的作品就必须局限于小范围，而且会仓促完成，要么他必须把今天的印象和昨天的印象一起画一点，这样的话，他的作品就会显得枯燥无味，缺乏统一性。

But even from the point of view of the true visual perception (if there is such a thing) that modern art has heard so much talk of, the copying of the retina picture is not so great a success. The impression carried away from a scene that has moved us is not its complete visual aspect. Only those things that are significant to the felt impression have been retained by the mind; and if the picture is to be a true representation of this, the significant facts must be sorted out from the mass of irrelevant matter and presented in a lively manner. The impressionist’s habit of painting before nature entirely is not calculated to do this. Going time after time to the same place, even if similar weather conditions are waited for, although well enough for studies, is against the production of a fine picture. Every time the artist goes to the selected spot he receives a different impression, so that he must either paint all over his picture each time, in which case his work must be confined to a small scale and will be hurried in execution, or he must paint a bit of today’s impression alongside of yesterday’s, in which case his work will be dull and lacking in oneness of conception.

而且，分解进入眼睛的彩色光线并以纯色绘画，虽然极大地增强了光的表达能力，但通过破坏定义并将一切包裹在闪烁的气氛中，设计的力量线条音乐所传达的丰富意义已经消失了。

And further, in decomposing the colour rays that come to the eye and painting in pure colour, while great addition was made to the power of expressing light, yet by destroying the definitions and enveloping everything in a scintillating atmosphere, the power to design in a large manner was lost with the wealth of significance that the music of line can convey.

但印象派开辟了一种观点，从中可以收集到许多有趣的艺术内容。各地的画家都从中选择，并将其嫁接到一些更传统的设计流派中。

But impressionism has opened up a view from which much interesting matter for art is to be gleaned. And everywhere painters are selecting from this, and grafting it on to some of the more traditional schools of design.

我们在这里关心的是这种观点对绘图的影响。这种影响是相当大的，特别是对于那些作品涉及现代生活表现的绘图师而言。它包括通过观察视野中物体所占据的轮廓来绘图，观察物体在视网膜上的平面外观。当然，这是观察视觉形状的唯一准确方法。这种观点与旧观点的区别在于，它坚持观察平面视觉印象，而排除触觉或触觉，而触觉或触觉是通过观念的联想，我们在所见事物中所期待的。其结果是，外观特征的真实性增加，可塑性形式表达也相应丧失。

Our concern here is with the influence this point of view has had upon draughtsmanship. The influence has been considerable, particularly with those draughtsmen whose work deals with the rendering of modern life. It consists in drawing from the observation of the silhouette occupied by objects in the field of vision, observing the flat appearance of things as they are on the retina. This is, of course, the only accurate way in which to observe visual shapes. The difference between this and the older point of view is its insistence on the observation of the flat visual impression to the exclusion of the tactile or touch sense that by the association of ideas we have come to expect in things seen. An increased truth to the character of appearances has been the result, with a corresponding loss of plastic form expression.

第 66 和 67 页上有一幅大英博物馆的一幅复制品，归因于米开朗基罗的作品，与卢浮宫中德加的一幅作品进行了对比。一个是从线的角度画的，另一个是从质量的角度画的。它们都包含线条，但在一种情况下，线条是毛毡形式的轮廓，而在另一种情况下，线条是视觉质量的边界。在米开朗基罗中，轮廓只是全面考虑的丰富形式重叠的结果。每块肌肉和骨骼都在精神上被视为具体的事物，而绘画则是这一想法的表达。还要注意线条节奏；摆动曲线所传达的能量和运动感；并与后面所说的（第162页）关于摆动曲线的节奏意义进行比较。

On pages 66 and 67 a reproduction of a drawing in the British Museum, attributed to Michael Angelo, is contrasted with one in the Louvre by Degas. The one is drawn from the line point of view and the other from the mass. They both contain lines, but in the one case the lines are the contours of felt forms and in the other the boundaries of visual masses. In the Michael Angelo the silhouette is only the result of the overlapping of rich forms considered in the round. Every muscle and bone has been mentally realised as a concrete thing and the drawing made as an expression of this idea. Note the line rhythm also; the sense of energy and movement conveyed by the swinging curves; and compare with what is said later (page 162) about the rhythmic significance of swinging curves.

然后将它与德加的作品进行比较，观察这幅画所表现出的完全不同的心态。轮廓不是感觉为具体事物的形式的结果，而是在任何地方都首先考虑轮廓，通过对质量形状的精确考虑来获得可塑感（没有其他地方那么大）。

Then compare it with the Degas and observe the totally different attitude of mind in which this drawing has been approached. Instead of the outlines being the result of forms felt as concrete things, the silhouette is everywhere considered first, the plastic sense (nowhere so great as in the other) being arrived at from the accurate consideration of the mass shapes.

还要注意德加作品中对个性的日益关注，观察那些营养不良的小手臂和握住疲倦脚踝的手的悲伤——这一切是多么的个性化。这个小人物讲述的故事与脚灯前的故事是多么不同啊！看看人们是多么同情地寻找那些表达这一切的口音的轮廓。

Notice also the increased attention to individual character in the Degas, observe the pathos of those underfed little arms, and the hand holding the tired ankle—how individual it all is. What a different tale this little figure tells from that given before the footlights! See with what sympathy the contours have been searched for those accents expressive of all this.

板十二

Plate XII

迈克尔·安杰洛（大英博物馆）的研究

STUDY ATTRIBUTED TO MICHAEL ANGELO (BRITISH MUSEUM)

请注意将形式表达为感觉坚固的东西的愿望，轮廓是由重叠的形式产生的。视觉外观是通过表达固体物体的心理想法而获得的。

Note the desire to express form as a felt solid thing, the contours resulting from the overlapping forms. The visual appearance is arrived at as a result of giving expression to the mental idea of a solid object.

第十三版

Plate XIII

照片征

Photo Levy

DEGAS 研究（卢森堡）

STUDY BY DEGAS (LUXEMBOURG)

与米开朗基罗的绘画相比，请注意对轮廓的关注，以及视野中不同质量所占据的空间；实体形式的外观是如何准确描绘这种视觉外观的结果。

In contrast with Michael Angelo’s drawing, note the preoccupation with the silhouette, the spaces occupied by the different masses in the field of vision; how the appearance of solid forms is the result of accurately portraying this visual appearance.

与此相比，米开朗琪罗的个性是多么遥远啊！他给我们的不是一个个体，而是一种发光的人的精神概念的表达，作为一种体力和力量。

How remote from individual character is the Michael Angelo in contrast with this! Instead of an individual he gives us the expression of a glowing mental conception of man as a type of physical strength and power.

节奏也不同，在一种情况下是线条节奏，在另一种情况下考虑形状或质量的平面图案，并在边缘上进行失而复得的游戏（见下文，第192页及以下）。 ，各种边缘）。正是德加绘画中对节奏的感觉，以及对那些表达性格的点的同情寻找和强调，使它不再是一种机械表现，而这种机械表现很可能是对科学视觉准确性的关注，而正是这种表现使机械表现成为可能。德加的追随者的许多画作都无意地模仿了他的方法。

The rhythm is different also, in the one case being a line rhythm, and in the other a consideration of the flat pattern of shapes or masses with a play of lost-and-foundness on the edges (see later, pages 192 et seq., variety of edges). It is this feeling for rhythm in Degas’s drawing and the sympathetic searching for and emphasis of those points expressive of character, that keep it from being the mechanical performance which so much concern with scientific visual accuracy might well have made it, and which has made mechanical many of the drawings of Degas’s followers who unintelligently copy his method.

六、

VI

学术和传统

THE ACADEMIC AND CONVENTIONAL

“学术”和“传统”这两个术语在批评中被广泛使用，并且受到批评者的极大恐惧，而任何一方似乎都不太了解其含义。新的所谓的绘画流派似乎每年都会随着春季时尚而到来，而去年的流派即使不是传统的和学院派的，也迟早会被称为过时的。作为学生，由于担心他们的工作被这些可怕的术语中的一个或另一个所称呼，他们倾向于仓促地进行任何新的奢侈的出现，在我们传递给他们之前，对它们的含义进行一些询问不会是不恰当的。涉及学术研究的章节。

THE terms Academic and Conventional are much used in criticism and greatly feared by the criticised, often without either party appearing to have much idea of what is meant. New so-called schools of painting seem to arrive annually with the spring fashions, and sooner or later the one of last year gets called out of date, if not conventional and academic. And as students, for fear of having their work called by one or other of these dread terms, are inclined to rush into any new extravagance that comes along, some inquiry as to their meaning will not be out of place before we pass on to the chapters dealing with academic study.

一段时间以来，人们一直认为艺术学院只培养学术型学生。人们肯定会将一种令人尊敬的平庸与大量的学业联系在一起。我们可以想起很多枯燥、毫无生气、完成度很高、并不完美的作品，这些作品在许多学校比赛中获奖了。福楼拜说“形式是僵化的”，学校课程的必要形式似乎确实对学生产生了一些僵化的影响。艺术家发展的某些重要部分未能得到认可和鼓励。

It has been the cry for some time that Schools of Art turned out only academic students. And one certainly associates a dead level of respectable mediocrity with much school work. We can call to mind a lot of dull, lifeless, highly-finished work, imperfectly perfect, that has won the prize in many a school competition. Flaubert says “a form deadens,” and it does seem as if the necessary formality of a school course had some deadening influence on students; and that there was some important part of the artist’s development which it has failed to recognise and encourage.

法国学校的更自由的制度在很多情况下都更加成功。但每所学校都由一位杰出的艺术家主持，这让学生接触到实际的工作，从而带来活力。在英国，直到最近，艺术家才很少从事教学工作，教学工作都是留给专为教学目的的人，没有时间进行自己的原创工作。皇家学院学校是一个例外。在那里，学生可以享受到由一位杰出的成员或同事授课的优势，这些成员或同事每次负责高中一个月。但由于访问者不断变化，经验不足的学生对所提倡的不同方法感到困惑，并因缺乏明确的系统而陷入绝望的困境；尽管对于已经具备良好基础的学生来说，该系统还有很多值得一说的地方，因为与不同大师的接触会拓宽他们的视野。

The freer system of the French schools has been in many cases more successful. But each school was presided over by an artist of distinction, and this put the students in touch with real work and thus introduced vitality. In England, until quite lately, artists were seldom employed in teaching, which was left to men set aside for the purpose, without any time to carry on original work of their own. The Royal Academy Schools are an exception to this. There the students have the advantage of teaching from some distinguished member or associate who has charge of the upper school for a month at a time. But as the visitor is constantly changed, the less experienced students are puzzled by the different methods advocated, and flounder hopelessly for want of a definite system to work on; although for a student already in possession of a good grounding there is much to be said for the system, as contact with the different masters widens their outlook.

但也许艺术学校的主要错误在于，他们在很大程度上局限于训练学生机械地观察和描绘摆在他们面前并进行临摹的事物，比如一个古董人物、一组静物、一个静坐的活人模特。尽他所能地毫无生气。就目前而言，这一切都很好，但艺术的真正问题并不一定在于这一切。如果艺术的真正问题被忽视太久，学生可能会发现很难再次接触它。

But perhaps the chief mistake in Art Schools has been that they have too largely confined themselves to training students mechanically to observe and portray the thing set before them to copy, an antique figure, a still-life group, a living model sitting as still and lifeless as he can. Now this is all very well as far as it goes, but the real matter of art is not necessarily in all this. And if the real matter of art is neglected too long the student may find it difficult to get in touch with it again.

这些准确而艰苦的学校学习确实是非常必要的，因为它是对眼睛准确观察和再现事物外观的手的训练，因为它是通过再现自然外观以及从这种学习中获得的形状和颜色知识而进行的。学生随后会找到表达自己感受的方法。但当为他们提供有价值的奖项和奖学金，而不是为真正的艺术作品时，它们确实往往成为目的而不是手段。

These accurate, painstaking school studies are very necessary indeed as a training for the eye in observing accurately, and the hand in reproducing the appearances of things, because it is through the reproduction of natural appearances and the knowledge of form and colour derived from such study that the student will afterwards find the means of giving expression to his feelings. But when valuable prizes and scholarships are given for them, and not for really artistic work, they do tend to become the end instead of the means.

当然，即使是一位年轻艺术家仅仅以准确性为目的的学校学习也不可能在所有情况下都缺乏艺术感；如果他有艺术本能，它就会悄悄潜入。但鼓励力度还不够，一般都会奖励最完整、最像模型的图纸。如果一个学生被强烈的形式感所感动，放纵自己，做了一件好事，可能只是与普通人眼中的模特相差甚远，当局就会感到困惑，通常不知道该怎么做。

It is of course improbable that even school studies done with the sole idea of accuracy by a young artist will in all cases be devoid of artistic feeling; it will creep in, if he has the artistic instinct. But it is not enough encouraged, and the prize is generally given to the drawing that is most complete and like the model in a commonplace way. If a student, moved by a strong feeling for form, lets himself go and does a fine thing, probably only remotely like the model to the average eye, the authorities are puzzled and don’t usually know what to make of it.

有些学校最鼓励艺术素质，但通常忽视学术方面；学生留给他们的能力很差，无法完成出色的工作。当然，可以做出区分，为学术绘图颁发奖项，这些绘图应该在机械方面与工业和应用所能做到的一样完全准确，也为艺术绘图颁发奖项，在艺术绘图中，应该鼓励学生遵循自己的喜好。 ，努力表达任何令他高兴的品质，并减少对机械精度的担忧。使用绘画来表达感受的东西常常被留到学校培训完成后，以致许多学生无法完全实现它。结果是一排毫无生气的图片，由以不同态度复制的模型组成，周围有工作室财产，在许多方面被视为艺术。这样的画往往显示出相当大的能力，正如伯恩-琼斯在他的一封信中所说，“即使是一幅糟糕的画也很难画出来。” 但如果这种能力的方向不同的话，照片可能会很好。

There are schools where the most artistic qualities are encouraged, but they generally neglect the academic side; and the student leaves them poorly equipped for fine work. Surely it would be possible to make a distinction, giving prizes for academic drawings which should be as thoroughly accurate in a mechanical way as industry and application can make them, and also for artistic drawings, in which the student should be encouraged to follow his bent, striving for the expression of any qualities that delight him, and troubling less about mechanical accuracy. The use of drawing as an expression of something felt is so often left until after the school training is done that many students fail to achieve it altogether. And rows of lifeless pictures, made up of models copied in different attitudes, with studio properties around them, are the result, and pass for art in many quarters. Such pictures often display considerable ability, for as Burne-Jones says in one of his letters, “It is very difficult to paint even a bad picture.” But had the ability been differently directed, the pictures might have been good.

很难解释学术绘画有什么问题，以及它与精美绘画有什么区别。但如果你愿意原谅一个相当奇特的比喻的话，也许这种差异可以更清楚地理解。有人告诉我，如果你建造一个完美安装的发动机——活塞以绝对的精度安装在气缸上，轴与插座之间没有空间，等等——它不会工作，而是一团毫无生气的铁块。重要部件之间必须有足够的间隙以允许进行一些运动；我相信，“dither”是苏格兰语中的意思。活塞在其所经过的气缸开口处必须有一定的间隙，否则它将无法移动并显示出任何寿命。轮毂中的轮轴，事实上，机器中发生生命和运动的所有部件，都必须有这种间隙，这种“抖动”。在我看来，精确安装的发动机就像一幅优秀的学术图画，在某种程度上是一件完美的作品，但毫无生气。不完美的完美，因为没有留下生命玩耍的空间。更进一步来说，如果零件之间的间隙太大，以致零件之间的配合太松，发动机就会失去动力，变成一个摇摇欲坠的东西。必须有允许其发挥作用的最小游戏量。发动机制造得越完美，这种“抖动”的程度就越少。

It is difficult to explain what is wrong with an academic drawing, and what is the difference between it and a fine drawing. But perhaps this difference can be brought home a little more clearly if you will pardon a rather fanciful simile. I am told that if you construct a perfectly fitted engine —the piston fitting the cylinder with absolute accuracy and the axles their sockets with no space between, &c.—it will not work, but be a lifeless mass of iron. There must be enough play between the vital parts to allow of some movement; “ dither ” is, I believe, the Scotch word for it. The piston must be allowed some play in the opening of the cylinder through which it passes, or it will not be able to move and show any life. And the axles of the wheels in their sockets, and, in fact, all parts of the machine where life and movement are to occur, must have this play, this “ dither.” It has always seemed to me that the accurately fitting engine was like a good academic drawing, in a way a perfect piece of workmanship, but lifeless. Imperfectly perfect, because there was no room left for the play of life. And to carry the simile further, if you allow too great a play between the parts, so that they fit one over the other too loosely, the engine will lose power and become a poor rickety thing. There must be the smallest amount of play that will allow of its working. And the more perfectly made the engine, the less will the amount of this “ dither ” be.

“抖动”这个词将是一个有用的名字，它赋予了所有重要艺术中存在的难以捉摸的品质，即机械精度。正是这种至关重要的品质在艺术培训中尚未受到足够的重视。

The word “ dither ” will be a useful name to give that elusive quality, that play on mechanical accuracy, existing in all vital art. It is this vital quality that has not yet received much attention in art training.

正是在这里，照片失败了，它最多只能给出机械的准确性，而艺术则给人一种生动的、个人意识的印象。如果记录仪器是活体个体，则不可能存在准确度的机械标准，因为每个记录仪器都有不同的个性。个体对自然的描绘的微妙差异才是艺术的生命线。这张照片由于受到机械精度的束缚，没有任何生活的戏剧性来赋予它魅力。它只有在模糊、模糊和不确定的时候才接近艺术条件，就像所谓的艺术摄影一样，因为只有这样，这种充满活力的戏剧、这种“抖动”才能被想象存在。

It is here that the photograph fails, it can only at best give mechanical accuracy, whereas art gives the impression of a live, individual consciousness. Where the recording instrument is a live individual, there is no mechanical standard of accuracy possible, as every recording instrument is a different personality. And it is the subtle differences in the individual renderings of nature that are the life-blood of art. The photograph, on account of its being chained to mechanical accuracy, has none of this play of life to give it charm. It only approaches artistic conditions when it is blurred, vague, and indefinite, as in so-called artistic photography, for then only can some amount of this vitalising play, this “dither” be imagined to exist.

正是这种完美的精确性，这种缺乏游隙和多样性，使得机器制造的物品如此毫无生气。凡是有生命的地方，就有多样性，而机器制造的物品取代了手工制造的物品，已经使世界变得更加贫困，其程度可能比我们意识到的还要严重。以前，在机械出现之前，你能捡到的最普通的物品都有生命和温暖，赋予它个人兴趣，而现在一切都变得如此完美，死气沉沉，以至于人们被迫捡起和收集，纯粹是为了保护它。绝望，这是早期时期遗留下来的最常见的垃圾。

It is this perfect accuracy, this lack of play, of variety, that makes the machine-made article so lifeless. Wherever there is life there is variety, and the substitution of the machine-made for the hand-made article has impoverished the world to a greater extent than we are probably yet aware of. Whereas formerly, before the advent of machinery, the commonest article you could pick up had a life and warmth which gave it individual interest, now everything is turned out to such a perfection of deadness that one is driven to pick up and collect, in sheer desperation, the commonest rubbish still surviving from earlier periods.

但回到我们的图纸。如果在感觉的影响下与严格的准确性相差太大，结果就会是一幅漫画。一幅美丽的图画中的变化是如此微妙，以至于常常难以察觉。安格尔的研究就是我的意思的一个例子。他的台词是多么真实和对生活的本能，人们多么容易认为它们只是准确的。但仅仅精确的作品并不具备这些图画所具有的令人信服的品质。如果作者可以大胆地对如此伟大的艺术家发表意见，那么当安格尔把他的画转移到画布上时，有时甚至连安格尔本人也忽略了我们正在谈论的微妙差异；在某些情况下，这些照片变得学术化、毫无生气。没有了面前自然的刺激，画中的“抖动”就很难保留，生命也逃走了。这是读书工作的最大难处；在冷血临摹的过程中，很容易失去绘画中那些赋予表达活力的小点。

But to return to our drawings. If the variations from strict accuracy made under the influence of feeling are too great, the result will be a caricature. The variations in a beautiful drawing are so subtle as often to defy detection. The studies of Ingres are an instance of what I mean. How true and instinct with life are his lines, and how easily one might assume that they were merely accurate. But no merely accurate work would have the impelling quality these drawings possess. If the writer may venture an opinion on so great an artist, the subtle difference we are talking about was sometimes missed by even Ingres himself, when he transferred his drawings to the canvas; and the pictures have in some cases become academic and lifeless. Without the stimulus of nature before him it was difficult to preserve the “dither” in the drawing, and the life has escaped. This is the great difficulty of working from studies; it is so easy to lose those little points in your drawing that make for vitality of expression, in the process of copying in cold blood.

第十四版

Plate XIV

欧内斯特·科尔 (Ernest Cole) 用红粉笔绘画

DRAWING IN RED CHALK BY ERNEST COLE

作者在金史密斯学院艺术学院的课堂上制作的非学术绘画示例。

Example of unacademic drawing made in the author’s class at the Goldsmiths’ College School of Art.

板 XV

Plate XV

照片布洛兹

Photo Bulloz

来自 INGRES 的铅笔画

FROM A PENCIL DRAWING BY INGRES

事实是：只能教授学术。如果这在学校做得很好，那可不是一件小事。赋予绘画活力和独特性的品质必须由学生本人来欣赏，并且可能经常在他的绘画中表现出来，而他却没有意识到他只是在诚实地临摹。如果他彻底训练了自己，那么当他表现出生命力时，他将不会发现太多困难。主人能做的就是每当看到真实的证据时就站在一边鼓励。但毫无疑问，学校学习存在着成为目的而不是手段的危险。

The fact is: it is only the academic that can be taught. And it is no small thing if this is well done in a school. The qualities that give vitality and distinction to drawing must be appreciated by the student himself, and may often assert themselves in his drawing without his being aware that he is doing aught but honestly copying. And if he has trained himself thoroughly he will not find much difficulty when he is moved to vital expression. All the master can do is to stand by and encourage whenever he sees evidence of the real thing. But there is undoubtedly this danger of the school studies becoming the end instead of the means.

一幅画不一定是学术性的，因为它是彻底的，而只是因为它是死的。一幅图画并不一定是学术性的，因为它是以所谓的传统风格完成的，也不一定是好的，因为它是以非传统风格完成的。考验的是它是否有生命，是否能传达真情。

A drawing is not necessarily academic because it is thorough, but only because it is dead. Neither is a drawing necessarily academic because it is done in what is called a conventional style, any more than it is good because it is done in an unconventional style. The test is whether it has life and conveys genuine feeling.

关于传统艺术有很多愚蠢的言论，好像艺术可以摆脱传统，如果可以的话。根据要传达的事物的性质和表达它所采用的媒介，约定会更自然或更抽象。但自然主义与艺术最近受到如此猛烈攻击的任何其他主义一样，都是一种惯例。杜莎夫人蜡像馆是真正非传统的艺术。在那里，除了代表事物的绘画符号之外，甚至连框架和平​​面的惯例都被废除了。他们有真实的椅子、桌子、地板、真实的衣服，甚至真实的头发。现实主义无处不在，但没有生活。我们都知道结果。一位优秀艺术家在纸上潦草写下的几行文字，比所有流行节目的现实更能表达生活。

There is much foolish talk about conventional art, as if art could ever get away from conventions, if it would. The convention will be more natural or more abstract according to the nature of the thing to be conveyed and the medium employed to express it. But naturalism is just as much a convention as any of the other isms that art has lately been so assailed with. For a really unconventional art there is Madame Tussaud’s Waxworks. There, even the convention of a frame and flat surface are done away with, besides the painted symbols to represent things. They have real natural chairs, tables, and floors, real clothes, and even real hair. Realism everywhere, but no life. And we all know the result. There is more expression of life in a few lines scribbled on paper by a good artist than in all the reality of the popular show.

似乎，在某一点之后，你的画面越接近自然外观的实际幻觉，你离生活的表达就越远。人们永远无法希望超越生动活泼的虚幻外观。那里有真实的、活生生的人。但当窗帘拉开时，却感受到了一种多么可怕的死一般的寂静。你越接近真实的完整性，你就越明显地发现生活中始终伴随着的运动的缺乏。你无法通过复制自然的外表来表达生活。艺术家必须寻找那些在外观上传达生命力表达并能够转化为他所使用的媒介的东西，并相应地制作他的画作中的绘画符号。在一幅好照片中，这种缺乏生命活力的现象永远不会被注意到，但另一方面，人们却常常感觉人物在移动。

It would seem that, after a certain point, the nearer your picture approaches the actual illusion of natural appearance, the further you are from the expression of life. One can never hope to surpass the illusionary appearance of a tableau vivant. There you have real, living people. But what an awful deathlike stillness is felt when the curtain is drawn aside. The nearer you approach the actual in all its completeness, the more evident is the lack of that movement which always accompanies life. You cannot express life by copying laboriously natural appearances. Those things in the appearance that convey vital expression and are capable of being translated into the medium he is working with, have to be sought by the artist, and the painted symbols of his picture made accordingly. This lack of the movement of life is never noticed in a good picture, on the other hand the figures are often felt to move.

当缺乏活力才是问题所在时，图片就会被指责为传统。如果所采用的惯例没有被作为绘画原因的情感所激发，那么它当然会是一件毫无生气的事情。但是，无论采用何种抽象和不自然的方式，如果艺术家真正认为这是表达其情感观念的正确手段，那么它就会具有生命力，并且不应该被称为传统的、普遍接受的攻击性使用术语。

Pictures are blamed for being conventional when it is lack of vitality that is the trouble. If the convention adopted has not been vitalised by the emotion that is the reason of the painting, it will, of course, be a lifeless affair. But however abstract and unnaturalistic the manner adopted, if it has been truly felt by the artist as the right means of expressing his emotional idea, it will have life and should not be called conventional in the commonly accepted offensive use of the term.

只有当一个画家有意识地选择了一种不属于他自己的、他不理解的、无法用自己的个性来表达的方式时，他的画才显得荒唐和传统。

It is only when a painter consciously chooses a manner not his own, which he does not comprehend and is incapable of firing with his own personality, that his picture is ridiculous and conventional in the dead sense.

但每个时代的气质都有所不同，一个时代的艺术惯例很少适合另一个时代。艺术家必须为自己找到一种惯例，一种适合他独特个性的惯例。但这是简单而自然的——并不是一开始就打算在原则上藐视所有传统惯例；另一方面，也不是原则上全盘接受，而是简单地遵循自己的喜好，在他的视野范围内的任何事物中选择对他有吸引力的东西。结果可能与最近伪装成原创性的暴力利用截然不同。原创性更关心的是真诚而不是独特性。

But every age differs in its temperament, and the artistic conventions of one age seldom fit another. The artist has to discover a convention for himself, one that fits his particular individuality. But this is done simply and naturally—not by starting out with the intention of flouting all traditional conventions on principle; nor, on the other hand, by accepting them all on principle, but by simply following his own bent and selecting what appeals to him in anything and everything that comes within the range of his vision. The result is likely to be something very different from the violent exploits in peculiarity that have been masquerading as originality lately. Originality is more concerned with sincerity than with peculiarity.

人们在现代艺术中看到的对原创性的挣扎和烦恼当然是生命力的证据，但人们倾向于怀疑是否有真正原创的东西是以如此强迫的方式完成的。老一辈的大师们似乎真诚地满足于尝试并尽其所能。这种不断努力做得更好的努力几乎在不知不觉中引导他们取得了新的、原创的成果。独创性是一种品质，艺术家对其的影响力与对其特征的形状和特征的影响力一样小。他能做的就是真诚地尝试找出那些真正让他感动、他真正喜欢的东西。如果他有很强的原创性，那么他在这方面就没有困难，他的作品也将是真正意义上的原创。如果他没有这样做，那么他是否更愿意按照某种久经考验的方式工作，这至少会阻止他做任何真正的坏事，而不是努力掩盖自己的平庸，这是一个意见问题在暴力文章的特殊性和不惜一切代价避免显而易见的情况下。

The struggling and fretting after originality that one sees in modern art is certainly an evidence of vitality, but one is inclined to doubt whether anything really original was ever done in so forced a way. The older masters, it seems, were content sincerely to try and do the best they were capable of doing. And this continual striving to do better led them almost unconsciously to new and original results. Originality is a quality over which an artist has as little influence as over the shape and distinction of his features. All he can do is to be sincere and try and find out the things that really move him and that he really likes. If he has a strong and original character, he will have no difficulty in this, and his work will be original in the true sense. And if he has not, it is a matter of opinion whether he is not better employed in working along the lines of some well-tried manner that will at any rate keep him from doing anything really bad, than in struggling to cloak his own commonplaceness under violent essays in peculiarity and the avoidance of the obvious at all costs.

但是，在反对怪诞之后的烦恼时，不要认为真正的新观点会受到阻碍。在艺术中​​，当一件事情一旦做得很好并在一些完整的艺术作品中找到体现时，它就已经完成了。造成这种情况的情况不可能再次发生。这就是为什么那些继续复制他们一开始就成功的画作（我们不是字面意思）的画家，后来却再也没有获得原始表演的成功。每一件美丽的艺术作品都是新的创作，是艺术家生活中及其创作时期特定环境的结果，以前从未存在过，也不会再次出现。如果过去的伟大大师现在还活着，他们所做的工作会与他们当时所做的完全不同，环境也完全不同。因此，如果有人现在试图像提香那样绘画，通过尝试像提香在他那个时代那样绘画，他就无法尝试任何与这位大师的精神更加不同的事情；这在当时是最先进的，就像所有大师的精神一样。但只有以一丝不苟的真诚和真实的心态，我们才能利用我们所处的新的、原创的环境来创作原创作品。自觉地追求独特性只会阻止自然进化并导致堕胎。

But while speaking against fretting after eccentricity, don’t let it be assumed that any discouragement is being given to genuine new points of view. In art, when a thing has once been well done and has found embodiment in some complete work of art, it has been done once for all. The circumstances that produced it are never likely to occur again. That is why those painters who continue to reproduce a picture of theirs (we do not mean literally) that had been a success in the first instance, never afterwards obtain the success of the original performance. Every beautiful work of art is a new creation, the result of particular circumstances in the life of the artist and the time of its production, that have never existed before and will never recur again. Were any of the great masters of the past alive now, they would do very different work from what they did then, the circumstances being so entirely different. So that should anybody seek to paint like Titian now, by trying to paint like Titian did in his time, he could not attempt anything more unlike the spirit of that master; which in its day, like the spirit of all masters, was most advanced. But it is only by a scrupulously sincere and truthful attitude of mind that the new and original circumstances in which we find ourselves can be taken advantage of for the production of original work. And self-conscious seeking after peculiarity only stops the natural evolution and produces abortions.

但不要被惯例吓到，艺术家作品中使用的不同材料强加了惯例。由于他必须通过这些材料来寻找表达，因此必须研究它们具有哪些表达品质，以及选择与它们相协调的自然事实。雕塑家对头发的处理就是一个极端的例子。头发的哪些品质适合用石头来表达？显然，它们很少，而且主要局限于头发自行排列的团块形式。最优秀的雕塑家从未尝试过比这更多的尝试，从未忘记他们所使用的是石头这一事实，也从未尝试过创造真实头发的幻觉。同样地，在创作青铜作品时，优秀的艺术家永远不会忘记他所创作的正是青铜这一事实。可悲的是，被错误的政府委托给英国国徽造型工作的杰出画家忽视了这一点，在特拉法加广场上的任何一天都可以看到，那里的狮子没有青铜的辉煌，但看起来就像是用面团塑造的，因此不具备狮子的任何重要品质。将它们与以大英博物馆栏杆为模型的小狮子阿尔弗雷德·史蒂文斯进行比较，并推测如果他被委托承担这项工作，每次我们经过特拉法加广场时我们可能会感到多么兴奋，这是很有趣的已经。

But do not be frightened by conventions, the different materials in which the artist works impose their conventions. And as it is through these materials that he has to find expression, what expressive qualities they possess must be studied, and those facts in nature selected that are in harmony with them. The treatment of hair by sculptors is an extreme instance of this. What are those qualities of hair that are amenable to expression in stone? Obviously they are few, and confined chiefly to the mass forms in which the hair arranges itself. The finest sculptors have never attempted more than this, have never lost sight of the fact that it was stone they were working with, and never made any attempt to create an illusion of real hair. And in the same way, when working in bronze, the fine artist never loses sight of the fact that it is bronze with which he is working. How sadly the distinguished painter to whom a misguided administration entrusted the work of modelling the British emblem overlooked this, may be seen any day in Trafalgar Square, the lions there possessing none of the splendour of bronze but looking as if they were modelled in dough, and possessing in consequence none of the vital qualities of the lion. It is interesting to compare them with the little lion Alfred Stevens modelled for the railing of the British Museum, and to speculate on what a thrill we might have received every time we passed Trafalgar Square, had he been entrusted with the work, as he might have been.

在绘画中，伟大的画家永远不会忽视这样一个事实：他们是用颜料来表达自己的。尽管油漆能够比石头或青铜更接近自然的实际外观，但它们永远不会让您忘记它是油漆。这是留给一些较小的男人的。

And in painting, the great painters never lose sight of the fact that it is paint with which they are expressing themselves. And although paint is capable of approaching much nearer the actual appearance of nature than stone or bronze, they never push this to the point where you forget that it is paint. This has been left for some of the smaller men.

当谈到绘画时，伟大的艺术家总是将自己局限于他们所使用的绘画工具能够表达的自然品质，而不是其他工具。无论是使用钢笔、铅笔、粉笔还是木炭，他们总是创造出一种可以进行无限表达的惯例。

And when it comes to drawing, the great artists have always confined themselves to the qualities in nature that the tool they were drawing with was capable of expressing, and no others. Whether working with pen, pencil, chalk, or charcoal, they always created a convention within which unlimited expression has been possible.

总而言之，学术绘画是真正可以教授的东西，对于画家来说，就像练习练习对于音乐家一样，他的观察力和执行力都可以得到训练。但艺术的关键并不在于所有这些必要的训练。学生应该始终牢记这一事实，并随时准备好发挥那些自然的热情，如果他是一名艺术家，他会发现这种热情在他内心涌动。危险在于，他对学术研究的浓厚兴趣可能会占据他的全部注意力，而忽视了他应该拥有的本能品质，只有拥有这些本能才能使他成为一名艺术家。

To sum up, academic drawing is all that can be really taught, and is as necessary to the painter as the practising of exercises is to the musician, that his powers of observation and execution may be trained. But the vital matter of art is not in all this necessary training. And this fact the student should always keep in mind, and be ever ready to give rein to those natural enthusiasms which, if he is an artist, he will find welling up within him. The danger is that the absorbing interest in his academic studies may take up his whole attention, to the neglect of the instinctive qualities that he should possess the possession of which alone will entitle him to be an artist.

七

VII

绘画研究

THE STUDY OF DRAWING

我们已经看到，有两种极端的观点可以用来接近形式的表现，一方面是轮廓，与形式的心理观念直接相关，其触觉关联，另一方面是与视觉直接相关的质量。图像在另一侧的视网膜上。

WE have seen that there are two extreme points of view from which the representation of form can be approached, that of outline directly related to the mental idea of form with its touch association on the one hand, and that of mass connected directly with the visual picture on the retina on the other.

现在，在这两种极端观点之间，有无数种风格将它们结合起来，并且更倾向于一侧或另一侧，视情况而定。但建议学生将两者分开学习，因为两者需要学习不同的东西，并且本质上需要研究不同的表达品质。

Now, between these two extreme points of view there are an infinite variety of styles combining them both and leaning more to the one side or the other, as the case may be. But it is advisable for the student to study both separately, for there are different things to be learnt and different expressive qualities in nature to be studied in both.

通过学习轮廓画，训练眼睛的精确观察能力，并了解线条的表现价值。手也被训练成明确的陈述，学生被引导从简单的轮廓逐渐接近在所有复杂的光影中完全实现形式。

From the study of outline drawing the eye is trained to accurate observation and learns the expressive value of a line. And the hand is also trained to definite statement, the student being led on by degrees from simple outlines to approach the full realisation of form in all the complexity of light and shade.

但同时，他应该从纯粹视觉的角度研究大规模绘画，以便了解色调值和平面形式表达的重要研究。因此，他将逐渐学会准确地观察和描绘音团（它们的形状和值），所有视觉外观都可以减少到这些音团；他将逐渐达到对形式的完全认识——这种认识将使他达到某种程度，类似于从相反的角度观察已添加了光影等的轮廓。

But at the same time he should study mass drawing with paint from the purely visual point of view, in order to be introduced to the important study of tone values and the expression of form by means of planes. And so by degrees he will learn accurately to observe and portray the tone masses (their shapes and values) to which all visual appearances can be reduced; and he will gradually arrive at the full realisation of form—a realisation that will bring him to a point somewhat similar to that arrived at from the opposite point of view of an outline to which has been added light and shade, &c.

但除非两种观点都得到研究，否则学生的工作将是不完整的。如果仅仅从轮廓的角度来研究形式，并且仅仅尝试所谓的雕塑家的绘画，那么学生将缺乏对自然界中始终包围形式的基调和氛围的了解。当他用铅笔代替画笔并努力用绘画来表达自己时，他的装备也会很差。

But unless both points of view are studied, the student’s work will be incomplete. If form be studied only from the outline point of view, and what have been called sculptor’s drawings alone attempted, the student will lack knowledge of the tone and atmosphere that always envelop form in nature. And also he will be poorly equipped when he comes to exchange the pencil for a brush and endeavours to express himself in paint.

如果他的研究仅仅从大众的角度出发，那么他的眼睛对轮廓的所有微妙之处的准确观察和形式的构建的训练就会被忽视。他也不会理解笔触的方向和摆动所能给予的心理形式的刺激。这些以及许多与表达相关的事情可以在线条作品中得到最好的研究。

And if his studies be only from the mass point of view, the training of his eye to the accurate observation of all the subtleties of contours and the construction of form will be neglected. And he will not understand the mental form stimulus that the direction and swing of a brush stroke can give. These and many things connected with expression can best be studied in line work.

因此，让学生从大多数学校采用的原则开始，对简单的铸件或模型进行大纲研究，并逐渐添加明暗。当他变得更加熟练时，他可能会接近于从生活中绘画。全国各地现有的众多艺术学校在这方面做得很好。但是，与此同时（据我所知，这在任何地方都没有完成），学生应该开始在绘画中进行一些简单形式的大规模绘图，简单的练习，正如稍后在大规模绘图，实用一章中所解释的那样，最初只是从语气价值观的角度进行尝试和批评。

Let the student therefore begin on the principles adopted in most schools, with outline studies of simple casts or models, and gradually add light and shade. When he has acquired more proficiency he may approach drawing from the life. This is sufficiently well done in the numerous schools of art that now exist all over the country. But, at the same time (and this, as far as I know, is not done anywhere), the student should begin some simple form of mass drawing in paint, simple exercises, as is explained later in the chapter on Mass Drawing, Practical, being at first attempted and criticised solely from the point of view of tone values.

图二

Diagram II

显示对页绘图中可寻找方形度的位置

SHOWING WHERE SQUARENESSES MAY BE LOOKED FOR

IN THE DRAWING ON THE OPPOSITE PAGE

第十六版

Plate XVI

鲁本斯的研究来自查尔斯·里基茨和查尔斯·香农的收藏

STUDY BY RUBENS FROM THE COLLECTION OF CHARLES RICKETTS

AND CHARLES SHANNON

这是鲁本斯热爱丰富、完整形式的绝佳例子。与对面的图表进行比较，

并注意赋予形状强度的平坦度。

A splendid example of Rubens’ love of rich, full forms. Compare with the diagram opposite,

and note the flatnesses that give strength to the forms.

由于缺乏这种基本的色调学习，学生在第一次接触绘画时，只有轮廓和明暗知识，完全处于茫然状态。画笔和颜料给他带来了全新的形式表达问题。他通常会开始摸索，尽可能地像粉笔在纸上一样使用他的颜料。由于害怕失去轮廓，他害怕放下质量，因为他不知道如何将外观简化为音质量或平面的结构。

From lack of this elementary tone study, the student, when he approaches painting for the first time, with only his outline and light and shade knowledge, is entirely at sea. With brushes and paint he is presented with a problem of form expressions entirely new. And he usually begins to flounder about, using his paint as much like chalk on paper as possible. And timid of losing his outlines, he fears to put down a mass, as he has no knowledge of reducing appearances to a structure of tone masses or planes.

因此，我建议学生应该从这两个角度同时学习，从最极端的位置开始，即一侧是裸露的轮廓，另一侧是因价值观的准确性而受到批评的音团。第一个例子。随着他的进步，一项研究将对另一项研究有所帮助。线条工作将有助于他观察物体形状的准确性，而当他谈到明暗时，他对色调值的了解将在这方面对他有所帮助。最终联合起来，当他的轮廓画中添加了完整的光和影，并且在他的大规模画中添加了对形式的深入了解时，结果将接近，两条路径将相遇。但如果不单独研究这两种观点的特点，就会造成混乱，“得过且过”的方法在我们的艺术学校中很常见。

I would suggest, therefore, that the student should study simultaneously from these two points of view, beginning with their most extreme positions, that is, bare outline on the one side and on the other side tone masses criticised for their accuracy of values only in the first instance. As he advances, the one study will help the other. The line work will help the accuracy with which he observes the shapes of masses, and when he comes to light and shade his knowledge of tone values will help him here. United at last, when complete light and shade has been added to his outline drawings and to his mass drawing an intimate knowledge of form, the results will approximate and the two paths will meet. But if the qualities appertaining to either point of view are not studied separately, the result is confusion and the “ muddling through ” method so common in our schools of art.

八

VIII

线条图：实用

LINE DRAWING: PRACTICAL

可见，绘画的首要条件就是必须在平面上进行，无论是画直线还是画体量，显然必须将外观简化为平面。在它们能够被表达在纸上之前。这是学生在尝试绘制立体物体时遇到的第一个困难。正如前一章所解释的那样，他已经养成了感知事物坚固性的习惯，因此要准确地将它们视为平面图片会遇到很大的困难。

SEEING that the first condition of your drawing is that it has to be made on a flat surface, no matter whether it is to be in line or mass you intend to draw, it is obvious that appearances must be reduced to terms of a flat surface before they can be expressed on paper. And this is the first difficulty that confronts the student in attempting to draw a solid object. He has so acquired the habit of perceiving the solidity of things, as was explained in an earlier chapter, that no little difficulty will be experienced in accurately seeing them as a flat picture.

由于只有从一个角度才能观察事物，并且由于我们有两只眼睛，因此有两个观点，所以一开始闭上一只眼睛会有帮助。

As it is only from one point of view that things Observing can be drawn, and as we have two eyes, therefore two points of view, the closing of one eye will be helpful at first.

将事物作为平面对象进行观察的最简单、最机械的方法是用一块纸板，中间切出一个矩形孔，然后将几块棉花穿过它，从而在上面形成正方形图案开口，如附图所示。要制作这样的框架，请取一块约 12 英寸 x 9 英寸的硬纸板，并在中心切一个 7 英寸 x 5 英寸的矩形孔，如图 III 所示。现在在开口的所有侧面标出英寸，并取一些黑线，用针将其穿过点A（用密封瓦兹将末端固定在该点上），然后穿过开口到上的相应点对面。将其带到下一个点，如虚线所示，然后再次将其穿过并穿过开口，依此类推，直到到达 B，这时线应该用一些密封蜡将各处拉紧。对另一侧做同样的事情。该框架应保持在眼睛和要绘制的物体之间（一只眼睛闭上），处于完全垂直的位置，并且开口的矩形边垂直和水平。然后可以将该对象作为平面副本进行观察。棉花格子将极大地帮助学生看到二维绘制的主题，这是年轻绘图员必须克服的第一个技术难题。它对于训练眼睛观察不同部分之间的比例也很有用，相同大小的正方形给出了一种测量单位，通过该单位可以缩放所有部分。

The simplest and most mechanical way of observing things as a flat subject is to have a piece of cardboard with a rectangular hole cut out of the middle, and also pieces of cotton threaded through it in such a manner that they make a pattern of squares across the opening, as in the accompanying sketch. To make such a frame, get a piece of stiff cardboard, about 12 inches by 9 inches, and cut a rectangular hole in the centre, 7 inches by 5 inches, as in Diagram III. Now mark off the inches on all sides of the opening, and taking some black thread, pass it through the point A with a needle (fixing the end at this point with sealing-waz), and across the opening to the corresponding point on the opposite side. Take it along to the next point, as shown by the dotted line, and pass it through and across the opening again, and so on, until B is reached, when the thread should be held by some sealing-wax quite taut everywhere. Do the same for the other side. This frame should be held between the eye and the object to be drawn (one eye being closed) in a perfectly vertical position, and with the rectangular sides of the opening vertical and horizontal. The object can then be observed as a flat copy. The trellis of cotton will greatly help the student in seeing the subject to be drawn in two dimensions, and this is the first technical difficulty the young draughtsman has to overcome. It is useful also in training the eye to see the proportions of different parts one to another, the squares of equal size giving one a unit of measurement by which all parts can be scaled.

图三

Diagram III

一种使学生能够观察

平面对象外观的装置

A DEVICE FOR ENABLING STUDENTS TO OBSERVE

APPEARANCES AS A FLAT SUBJECT

垂直线和水平线在放样时首先考虑的也是最重要的，即固定显着点并确定它们的相对位置。第 87 页的图 Z 将说明其含义。假设 ABCDE 是您要绘制的对象中的一些重要点。如果没有帮助，放置这些点将是一件相当困难的事情。但是，如果假设从 A 绘制一条垂直线，则可以通过注意从 B、C、D 和 E 绘制到该垂直线的水平线的高度和长度来观察 B、C、D 和 E 相对于它的位置。可以通过在一臂远的地方握住一条铅垂线（当然，闭上一只眼睛）并将其移动到覆盖拍摄对象上的 A 点的位置来绘制这条垂直线。然后可以观察该垂直线两侧其他点的位置。或者，可以将一根织针垂直地放在您面前一臂的距离，让您画出一条穿过 A 点的线。织针的优点是可以用它进行比较测量。

Vertical and horizontal lines are also of the utmost importance in that first consideration for setting out a drawing, namely the fixing of salient points, and getting their relative positions. Fig. Z, on page 87, will illustrate what is meant. Let A B C D E be assumed to be points of some importance in an object you wish to draw. Unaided, the placing of these points would be a matter of considerable difficulty. But if you assume a vertical line drawn from A, the positions of B, C, D, and E can be observed in relation to it by noting the height and length of horizontal lines drawn from them to this vertical line. This vertical can be drawn by holding a plumb line at arm’s length (closing one eye, of course) and bringing it to a position where it will cover the point A on your subject. The position of the other points on either side of this vertical line can then be observed. Or a knitting-needle can be held vertically before you at arm’s length, giving you a line passing through point A. The advantage of the needle is that comparative measurements can be taken with it.

图四

Diagram IV

显示了观察图时使用的三个构造原理。X，质量；如图。Y，曲线；如图。Z，点的位置

SHOWING THREE PRINCIPLES OF CONSTRUCTION USED IN OBSERVING FIG. X, MASSES; FIG. Y, CURVES; FIG. Z, POSITION OF POINTS

在测量比较距离时，针应始终保持在一臂的距离，并且在操作过程中眼睛保持在一个位置；并且，无论是垂直还是水平握住，始终保持在垂直平面上，即垂直向上和向下，或与视线成直角。如果不仔细观察这些事情，你的比较就不会真实。所采用的方法是将缩略图沿着针向上移动，直到从到达的点到顶部的距离与您想要测量的物体上的距离完全一致。在针上仔细记下这一点，无需移动眼睛的位置，您就可以移动伸出的手臂并将其与物体上的其他距离进行比较。除了垂直和水平测量之外，绝对不建议进行比较。在我们的图中，点是随机绘制的，没有任何明显的数学关系，这是自然界中的常见情况。但会发现 C 点略高于垂直线的一半，D 点略小于垂直线的三分之一。一半以上和三分之一以下的数量必须通过肉眼观察，并在绘图时允许相应的数量。在水平距离中，我们会发现E是从X到我们垂直线右侧C高度的距离的四分之一，而C向左比这个距离稍大一些，而右侧的距离D略小于整个高度的五分之一。B 的高度非常接近顶部，最好用肉眼来判断，它到右侧的距离与 E 相同。这些测量值永远不能被视为绝对准确，但对于初学者训练 B 的高度有很大帮助。眼睛，有时对每个艺术家的作品都有用。

In measuring comparative distances the needle should always be held at arm’s length and the eye kept in one position during the operation; and, whether held vertically or horizontally, always kept in a vertical plane, that is, either straight up and down, or across at right angles to the line of your vision. If these things are not carefully observed, your comparisons will not be true. The method employed is to run the thumb-nail up the needle until the distance from the point so reached to the top exactly corresponds with the distance on the object you wish to measure. Having this carefully noted on your needle, without moving the position of your eye, you can move your outstretched arm and compare it with other distances on the object. It is never advisable to compare other than vertical and horizontal measurements. In our diagram the points were drawn at random and do not come in any obvious mathematical relationship, and this is the usual circumstance in nature. But point C will be found to be a little above the half, and point D a little less than a third of the way up the vertical line. How much above the half and less than the third will have to be observed by eye and a corresponding amount allowed in setting out your drawing. In the horizontal distances, E will be found to be one-fourth the distance from X to the height of C on the right of our vertical line, and C a little more than this distance to the left, while the distance on the right of D is a little less than one-fifth of the whole height. The height of B is so near the top as to be best judged by eye, and its distance to the right is the same as E. These measurements are never to be taken as absolutely accurate, but are a great help to beginners in training the eye, and are at times useful in every artist’s work.

第十七版

Plate XVII

金史密斯学院艺术学院学生面前制作的演示图

DEMONSTRATION DRAWING MADE BEFORE THE STUDENTS OF THE

GOLDSMITHS COLLEGE SCHOOL OF ART

说明不同方向的线条如何帮助表达形式。

Illustrating how different directions of lines can help expression of form.

板 XVIII

Plate XVIII

学习绘画插画方法

STUDY ILLUSTRATING METHOD OF DRAWING

注意不同阶段。第一。用于确定突出点位置的中心线和横向线。和。阻塞，如另一腿所示。第三。绘制形状和阴影，如前腿所示。第四。用手指揉搓（整体呈现淡淡的中间调），用面包挑出高光，如背部和手臂所示。

Note the different stages. 1st. Centre line and transverse lines for settling position of salient points. and. Blocking in, as shown in further leg. 3rd. Drawing in the forms and shading, as shown in front leg. 4th. Rubbing with fingers (giving a faint middle tone over the whole), and picking out high lights with bread, as shown on back and arms.

如果人们能够建立一种测量单位，即物体中不发生变化的一些显着距离（如果是一个活体模型，则许多距离将不断变化），并且所有距离都可以与它进行比较，那么这是有用的。

It is useful if one can establish a unit of measurement, some conspicuous distance that does not vary in the object (if a living model a great many distances will be constantly varying), and with which all distances can be compared.

在布置绘图时，确定某些突出点是学生要做的第一件事。第 89 页上复制的图用于说明在训练眼睛进行准确观察时建议采用的程序方法。人们认为，穿过手臂凹陷处画一条垂直线对于进行测量最有用，因此首先绘制这条线并确定其长度。训练自己在开始时决定的限制之间进行绘制。当您希望将人物放置在图片中的准确位置时，此功能将非常有用。接下来要做的就是获取这条线上标记的不同点的相对高度。发现胃窝处的褶皱正好位于中心。这是一个有用的开始，通常建议注意一半首先出现的位置，如果它出现在某个明显的地方，则非常有用。其他测量方法与第 87 页图表中的点 ABCDE 相同，并绘制水平线，并测量相对于高度的横向距离。我在图上留下了这些线条，还有未完成的不同部分，以展示作品的不同阶段。当学生更先进时，这些指导线会在稍后的头脑中完成，并且比笨拙的织针更准确。但是，在养成经常牢记用于比较位置的垂直线和水平线的习惯之前，应尽可能准确地放置它们。

In setting out a drawing, this fixing of certain salient points is the first thing for the student to do. The drawing reproduced on page 89 has been made to illustrate the method of procedure it is advisable to adopt in training the eye to accurate observation. It was felt that a vertical line drawn through the pit of the arm would be the most useful for taking measurements on, and this was first drawn and its length decided upon. Train yourself to draw between limits decided upon at the start. This power will be of great use to you when you wish to place a figure in an exact position in a picture. The next thing to do is to get the relative heights of different points marked upon this line. The fold at the pit of the stomach was found to be exactly in the centre. This was a useful start, and it is generally advisable to note where the half comes first, and very useful if it comes in some obvious place. Other measurements were taken in the same way as our points A B C D E in the diagram on page 87, and horizontal lines drawn across, and the transverse distances measured in relation to the heights. I have left these lines on the drawing, and also different parts of it unfinished, so as to show the different stages of the work. These guide lines are done mentally later on, when the student is more advanced, and with more accuracy than the clumsy knitting-needle. But before the habit of having constantly in mind a vertical and horizontal line with which to compare positions is acquired, they should be put in with as much accuracy as measuring can give.

接下来要做的就是在你的视野中遮挡出与模型所占据的空间相对应的空间。这样做的方法有点类似于测量员绘制田地平面图所采用的方法。假设他有一个不规则形状的形状，如图X ，第 87 页所示，他将继续用直线对其进行投资，利用边界中的任何直线度，注意这些直线的长度和角度互相切割，然后按照他的计划按比例复制它们。一旦准确地放置了这个脚手架，他就可以根据这些线条绘制出形状的不规则性，并确保它们正确无误。

The next thing to do is to block out the spaces corresponding to those occupied by the model in the field of your vision. The method employed to do this is somewhat similar to that adopted by a surveyor in drawing the plan of a field. Assuming he had an irregular shaped one, such as is drawn in Fig. X, page 87, he would proceed to invest it with straight lines, taking advantage of any straightness in the boundary, noting the length and the angles at which these straight lines cut each other, and then reproducing them to scale on his plan. Once having got this scaffolding accurately placed, he can draw the irregularities of the shape in relation to these lines with some certainty of getting them right.

您应该以几乎相同的方式进行操作，以遮挡绘图形式所占据的空间。我制作的这些遮挡线超出了附图（第 87 页）中所需的范围，以便更清楚地显示它们。

You should proceed in very much the same way to block out the spaces that the forms of your drawing are to occupy. I have produced these blocking-out lines beyond what was necessary in the accompanying drawing (page 87), in order to show them more clearly.

还有另一种构造方法可用于准确地记录曲线的形状，如图 Y，第 87 页所示。首先，通过垂直和水平固定线末端的位置。而且，由于这是一条双曲线，因此曲率从一个方向变为另一个方向的点：点 C。通过绘制线 CA、CB 并记下曲线与这些直线的距离，特别是相对位置对于到达的最远点，可以准确观察和复制它们的曲率。在注意到形状的不同曲率时，这种结构应该始终存在于你的脑海中，以便你能够准确地观察它们。首先记下曲率开始和结束的点，然后记下曲率从连接这两个点的线开始的距离，如果需要，可以在模型上举起铅笔或织针。

There is yet another method of construction useful in noting accurately the shape of a curved line, which is illustrated in Fig. Y, page 87. First of all, fix the positions of the extremities of the line by means of the vertical and horizontal. And also, as this is a double curve, the point at which the curvature changes from one direction to the other: point C. By drawing lines CA, CB and noting the distances your curves travel from these straight lines, and particularly the relative position of the farthest points reached, their curvature can be accurately observed and copied. In noting the varying curvature of forms, this construction should always be in your mind to enable you to observe them accurately. First note the points at which the curvature begins and ends, and then the distances it travels from a line joining these two points, holding up a pencil or knitting-needle against the model if need be.

在我们的演示图（第 89 页）的另一条腿和脚的状态下，绘图被遮挡，是时候开始正确绘图了。到目前为止，您只是确定了它将占据的位置。这个最初的脚手架对于训练眼睛来说是必要的，应该尽可能准确地完成，但不要让它干扰你随后表达形式的自由。到目前为止的工作都是机械的，但现在是时候带着一些形式感来考虑这个主题了。了解皮肤下的骨骼和肌肉的结构将帮助您抓住那些重要的东西并表达人物的形状。对于学生来说，没有比学习阿尔弗雷德·D·弗里普爵士关于这个主题的优秀书籍更好的了，书名为《艺术学生的人体解剖学》。特别注意动作的摆动，例如手臂放在较远的大腿上所引起的拉力，以及肩部皮肤的拉紧所造成的形式的突出。还有弯曲的背部的坚固线条和身体前部的皱褶形状。注意轮廓的重叠，以及它们在哪里被强调，在哪里更加迷失，等等，用尽可能多的感觉和信念来绘画。你将有一段时间尝试性地工作，感受你尚未正确看到的真实形状，但一旦你感到有信心，请记住，自由而迅速地表达自己应该是​​你的目标。

A drawing being blocked out in such a state as the further leg and foot of our demonstration drawing (page 89), it is time to begin the drawing proper. So far you have only been pegging out the ground it is going to occupy. This initial scaffolding, so necessary to train the eye, should be done as accurately as possible, but don’t let it interfere with your freedom in expressing the forms afterwards. The work up to this point has been mechanical, but it is time to consider the subject with some feeling for form. Here knowledge of the structure of bones and muscles that underlie the skin will help you to seize on those things that are significant and express the form of the figure. And the student cannot do better than study the excellent book by Sir Alfred D. Fripp on this subject, entitled Human Anatomy for Art Students. Notice particularly the swing of the action, such things as the pull occasioned by the arm resting on the farther thigh, and the prominence given to the forms by the straining of the skin at the shoulder. Also the firm lines of the bent back and the crumpled forms of the front of the body. Notice the overlapping of the contours,and where they are accentuated and where more lost, &c., drawing with as much feeling and conviction as you are capable of. You will have for some time to work tentatively, feeling for the true shapes that you do not yet rightly see, but as soon as you feel any confidence, remember it should be your aim to express yourself freely and swiftly.

某些方面有一种倾向，不鼓励这种直线形式的封锁，当然这对一些学生作品中的表达自由是有害的。他们不仅以这种机械的封锁开始绘画，而且以同样的机械方式继续绘画，将几乎所有的曲线切割成平面，并且从未挣脱过这个脚手架，沉迷于自由线条表达的享受。这当然是不好的，但除了观察曲线与直线的关系之外，很难以任何其他方式准确地研究曲线的特征。可以准确地观察直线的倾斜度和长度。但曲线没有这种确定性，并且在没有辅助的情况下进行复制是非常不稳定的。除了技艺高超的绘图员之外，谁能在没有任何引导直线的情况下尝试复制第 87页图 X中的随机形状？即使是技艺高超的绘图员也会在心里画出这样的直线。因此，必须采取一些对弯曲形式的阻挡，无论是在实践中还是在想象中，才能正确观察任何形状。但不要忘记，这只是一个脚手架，一旦有任何感觉的真正形式表达开始，就应该始终被视为脚手架并被踢掉。

There is a tendency in some quarters to discourage this blocking in of the forms in straight lines, and certainly it has been harmful to the freedom of expression in the work of some students. They not only begin the drawing with this mechanical blocking in, but continue it in the same mechanical fashion, cutting up almost all their curves into flatnesses, and never once breaking free from this scaffolding to indulge in the enjoyment of free line expression. This, of course, is bad, and yet the character of a curved line is hardly to be accurately studied in any other way than by observing its relation to straight lines. The inclination and length of straight lines can be observed with certainty. But a curve has not this definiteness, and is a very unstable thing to set about copying unaided. Who but the highly skilled draughtsman could attempt to copy our random shape at Fig. X, page 87, without any guiding straight lines? And even the highly skilled draughtsman would draw such straight lines mentally. So that some blocking out of the curved forms, either done practically or in imagination, must be adopted to rightly observe any shapes. But do not forget that this is only a scaffolding, and should always be regarded as such and kicked away as soon as real form expression with any feeling begins.

但初学者需要几年的时间才能将他的眼睛训练到观察的准确性，以至于他可以放弃它。

But it will be some years before the beginner has got his eye trained to such accuracy of observation that he can dispense with it.

在透视的情况下，如果没有这种遮挡，眼睛总是容易误入歧途。在这里观察物体背景的形状将会有很大的帮助。被缩短的物体的外观与您所知道的固体物体非常不同，因此在这个遮挡过程中最好将注意力集中在背景上而不是形式上。事实上，在遮挡任何物体时，无论是否缩短，都应该像观察任何其他形状一样仔细观察背景的形状。但为了使绘画正确，必须观察形式的内在关系。也就是说，必须相对于界定另一侧的线来观察界定表格一侧的线；作为绘画对象的形式的真实表达取决于这些边界的真实关系。两侧的绘制应同时进行，以便不断进行比较。

In the case of foreshortenings, the eye, unaided by this blocking out, is always apt to be led astray. And here the observation of the shape of the background against the object will be of great assistance. The appearance of the foreshortened object is so unlike what you know it to be as a solid thing, that it is as well to concentrate the attention on the background rather than on the form in this blocking-out process. And in fact, in blocking out any object, whether foreshortened or not, the shape of the background should be observed as carefully as any other shape. But in making the drawing proper, the forms must be observed in their inner relations. That is to say, the lines bounding one side of a form must be observed in relation to the lines bounding the other side; as the true expression of form, which is the object of drawing, depends on the true relationship of these boundaries. The drawing of the two sides should be carried on simultaneously, so that one may constantly compare them.

任何复杂的形式（例如人体）的边界都不是连续的线。一种形式与另一种形式重叠，就像一系列山丘的线条一样。应该寻找并仔细表达这种重叠，轮廓由一系列重叠组成。

The boundaries of forms with any complexity, such as the human figure, are not continuous lines. One form overlaps another, like the lines of a range of hills. And this overlapping should be sought for and carefully expressed, the outlines being made up of a series of overlappings.

在线条画中，阴影只能用于辅助形式的表达。这不是阴影。建议以代表真实音调值为目标。

In Line Drawing shading should only be used to aid the expression of form. It is not Shading. advisable to aim at representing the true tone values.

在直射光下，可以观察到固体物体的一部分表面处于光照下，而其他部分（背离光照的部分）则处于阴影中。阴影也会投射在地面和周围物体上，称为投射阴影。物体反射最直接光线的部分称为高光。如果物体有光泽的表面，这些光就清晰可见；如果表面暗淡，则柔软且分散。在非常闪亮的表面（例如釉面罐）的情况下，光可能会被完全反射，以至于可以看到光源（通常是窗户）的图片。

In direct light it will be observed that a solid object has some portion of its surface in light, while other portions, those turned away from the light, are in shadow. Shadows are also cast on the ground and surrounding objects, called cast shadows. The parts of an object reflecting the most direct light are called the high lights. If the object have a shiny surface these lights are clear and distinct; if a dull surface, soft and diffused. In the case of a very shiny surface, such as a glazed pot, the light may be reflected so completely that a picture of the source of light, usually a window, will be seen.

在第 95 页的图表中，让 A 代表圆锥体的平面，BC 代表窗户的开口，D 代表观众的眼睛，EFG 代表房间的墙壁。光从窗口沿直线传播，射到圆锥体表面，反射到眼睛，使入射角等于反射角，入射角是光射到物体上形成的角，光线离开表面时所形成的反射角。

In the diagram on page 95, let A represent the plan of a cone, B C the opening of a window, and D the eye of the spectator, and E F G the wall of a room. Light travels in straight lines from the window, strikes the surface of the cone, and is reflected to the eye, making the angle of incidence equal to the angle of reflection, the angle of incidence being that made by the light striking an object, and the angle of reflection that made by the light in leaving the surface.

可以看出，线B 1 D、C2D 是从锥体进入眼睛的直接光线的限制，因此在点1 和点2 之间将看到最高的光。如果锥体具有完美的反射表面（例如镜子），则所有直射光都会从锥体反射到眼睛。但假设它有所谓的暗淡表面，光也会从其他部分反射，尽管反射的量不会很大。如果在显微镜下观察所谓的暗淡表面，就会发现它非常粗糙，即由许多以不同角度捕捉光线的小面组成。

It will be seen that the lines B 1 D, C2D are the limits of the direct rays of light that come to the eye from the cone, and that therefore between points 1 and 2 will be seen the highest light. If the cone have a perfect reflecting surface, such as a looking-glass has, this would be all the direct light that would be reflected from the cone to the eye. But assuming it to have what is called a dull surface, light would be reflected from other parts also, although not in so great a quantity. If what is called a dull surface is looked at under a microscope it will be found to be quite rough, i.e. made up of many facets which catch light at different angles.

图五

Diagram V

锥体 A 的平面图，由窗户 BC 照亮；眼睛的位置 D. 说明明暗原理

PLAN OF CONE A, LIT BY WINDOW BC; POSITION OF EYE D. ILLUSTRATING PRINCIPLES OF LIGHT AND SHADE

线 B4、C3 代表锥体可以接收的光的极限，因此在点 3 和 4 处将开始出现阴影。光一直反射到眼睛直到点 3 的事实并没有扰乱这样的理论：它只能从入射角等于反射角的点反射，就像看起来的那样，因为表面粗糙度会呈现不同角度的刻面，从其中一些角度一直到第 3 点，它都可以反射到眼睛。这些可以反射的刻面数量在高光附近自然是最大的，并且随着表面转动而逐渐减少更远；直到到达阴影开始的点，此时表面完全远离光线并且直射光的反射完全停止。在第 3 点之后，如果物体没有接收到反射光，则不会有光从物体进入眼睛。现在，最大量的反射光将来自与直射光相反的方向，因为该方向上的所有物体都被强烈照亮。E 点和 H 点之间的墙壁表面与光直接相对，将产生最多的反射。在点 5 和点 6 之间，该光将以最大强度被锥体反射到眼睛，因为在这些点处，入射角等于反射角。阴影的其他部分将接收一定量的反射光，这些点两侧的反射光量会减少。现在，光线从极值点 7 和 8 之间的圆锥体射入眼睛。从 7 到 3，我们有光线，包括半色调。1 到 2 之间为高光。3 到 8 之间，反射光量最大的阴影在 5 到 6 之间。

Lines B4, C3 represent the extreme limits of light that can be received by the cone, and therefore at points 3 and 4 the shadow will commence. The fact that light is reflected to the eye right up to the point 3 does not upset the theory that it can only be reflected from points where the angle of incidence can equal the angle of reflection, as it would seem to do, because the surface being rough presents facets at different angles, from some of which it can be reflected to the eye right up to point 3. The number of these facets that can so reflect is naturally greatest near the high lights, and gets gradually less as the surface turns more away ; until the point is reached where the shadows begin, at which point the surface positively turns away from the light and the reflection of direct light ceases altogether. After point 3 there would be no light coming to the eye from the object, were it not that it receives reflected light. Now, the greatest amount of reflected light will come from the direction opposite to that of the direct light, as all objects in this direction are strongly lit. The surface of the wall between points E and H, being directly opposite the light, will give most reflection. And between points 5 and 6 this light will be reflected by the cone to the eye in its greatest intensity, since at these points the angles of incidence equal the angles of reflection. The other parts of the shadow will receive a certain amount of reflected light, lessening in amount on either side of these points. We have now rays of light coming to the eye from the cone between the extreme points 7 and 8. From 7 to 3 we have the light, including the half tones. Between 1 and 2 the high light. Between 3 and 8 the shadows with the greatest amount of reflected light between 5 and 6.

如果不是可以从中了解有关光和影的某些事实，我就不应该用这张乏味的图表来困扰读者。第一个是，高光在物体边缘内的位置比您预期的要多得多。当光直接与点 7 相对时，人们可能会认为最高的光会到达那里，这就是许多学生的说法，直到他们的作品外观失去圆度，使他们更加仔细地寻找其位置。因此，请记住始终注意形状轮廓内的高光，而不是边缘。

I should not have troubled the reader with this tedious diagram were it not that certain facts about light and shade can be learned from it. The first is that the high lights come much more within the edge of the object than you would have expected With the light directly opposite point 7, one might have thought the highest light would have come there, and that is where many students put it, until the loss of roundness in the appearance of their work makes them look more carefully for its position. So remember always to look out for high lights within the contours of forms, not on the edges.

接下来要注意的是，阴影最暗的部分将最靠近点 3 和点 5 之间的灯光。这是最远离反射光最多方向的部分，因此接收的光最少。一般来说，阴影最亮的部分位于中间，而不是远离光线的一侧。投射在地面上的阴影将是黑色的，就像锥体上阴影最暗的部分一样，因为它的表面也远离反射光的主要来源。

The next thing to notice is that the darkest part of the shadow will come nearest the lights between points 3 and 5. This is the part turned most away from the direction of the greatest amount of reflected light, and therefore receiving least. The lightest part of the shadow will be in the middle, rather towards the side away from the light, generally speaking. The shadow cast on the ground will be dark, like the darkest part of the shadow on the cone, as its surface is also turned away from the chief source of reflected light.

虽然艺术家很少被要求画圆锥体，但在如此简单的图形中清晰可见的相同的光影原理在整个自然界中都存在。这就是为什么被滥用的白色块和盆的绘画和阴影如此有用。没有什么比这种所谓的枯燥研究更能清楚地体现光影的一般规律了。

Although the artist will very seldom be called upon to draw a cone, the same principles of light and shade that are so clearly seen in such a simple figure obtain throughout the whole of nature. This is why the much abused drawing and shading from whitened blocks and pots is so useful. Nothing so clearly impresses the general laws of light and shade as this so-called dull study.

中间的阴影因反射光而变亮，边缘变暗，这一点非常重要，需要记住，学生早期的作品很容易出现浓重、烟熏的外观，这几乎完全是由于他们忽视了这一原则。没有什么比阴影在中间变暗、向边缘逐渐变亮更可怕的了。当然，阴影部分有较深凹陷的地方，如第89页图中的腋窝和肚脐褶皱处，你会得到较暗的色调。但这并不违背一般阴影在中间较亮、向边缘较暗的原则。请注意，观察这一原理的发光质量在我们的演示图的主体上产生了阴影。

This lightening of shadows in the middle by reflected light and darkening towards their edges is a very important thing to remember, the heavy, smoky look students’ early work is so prone to, being almost entirely due to their neglect through ignorance of this principle. Nothing is more awful than shadows darker in the middle and gradually lighter towards their edges. Of course, where there is a deep hollow in the shadow parts, as at the armpit and the fold at the navel in the drawing on page 89, you will get a darker tone. But this does not contradict the principle that generally shadows are lighter in the middle and darker towards the edges. Note the luminous quality the observation of this principle gives the shadow on the body of our demonstration drawing.

这是对简单圆形物体上光影一般原理的粗略表述。在一个复杂的表面上，光影的变化是无限的。但同样的原则也适用。更靠近光源的表面接收的光量最大，并且最轻。随着表面转向更多，从这些部分开始，光量通过所谓的半色调减少，直到到达不再接收直射光的点，并且阴影开始。在阴影中，同样的定律适用：那些最接近反射光源的表面将接收最多的光，并且随着表面转向远离，接收到的量将逐渐减少，直到在半色调开始之前的点处反射光将非常少，因此可以寻找阴影的最暗部分。当然，阴影一侧可能存在其他直射光源，这将完全改变效果并使效果复杂化。或者，我们可以在宽阔的、漫射的光线中画画，就像在阴天的露天中所看到的那样；在这种情况下，阴影很少或没有，建模完全取决于光线和半色调的程度。

This is a crude statement of the general principles of light and shade on a simple round object. In one with complex surfaces the varieties of light and shade are infinite. But the same principles hold good. The surfaces turned more to the source of light receive the greatest amount, and are the lightest. And from these parts the amount of light lessens through what are called the half tones as the surface turns more away, until a point is reached where no more direct light is received, and the shadows begin. And in the shadows the same law applies: those surfaces turned most towards the source of reflected light will receive the most, and the amount received will gradually lessen as the surface turns away, until at the point immediately before where the half tones begin the amount of reflected light will be very little, and in consequence the darkest part of the shadows may be looked for. There may, of course, be other sources of direct light on the shadow side that will entirely alter and complicate the effect. Or one may draw in a wide, diffused light, such as is found in the open air on a grey day; in which case there will be little or no shadow, the modelling depending entirely on degrees of light and half tone.

在研究简单的光影原理时，建议从一种局部颜色的物体（例如白色铸件）中进行绘制。在杂色物体中，由于局部颜色的色调不同，问题变得更加复杂。在线条画中，最好尽可能少地注意这些变化，这些变化扰乱了对纯粹形式的思考，并且不属于我们在这里关注的形式表达的特定领域。

In studying the principles of simple light and shade it is advisable to draw from objects of one local colour, such as white casts. In parti-coloured objects the problem is complicated by the different tones of the local colour. In line drawing it is as well to take as little notice as possible of these variations which disturb the contemplation of pure form and do not belong to the particular province of form expression with which we are here concerned.

虽然选择了强烈的半明半暗效果来说明明暗的一般原理，但在制作白描时选择这样的位置是不可取的。背后有相当宽的光线的视角是最好的。在这个位置，几乎看不到阴影，大多数形式是通过光线和半色调的表现来表达的。当轮廓远离光线时，自然会变暗，在浅色背景下，您的拍摄对象会呈现出带有深色边缘的外观，很容易通过线条画来表达。应留下强烈的光影效果以供大规模绘制。在霍尔拜因的画作中你很少看到任何阴影；他似乎把他的保姆放在一扇宽大的窗户附近，他靠着窗户工作。还要选择尽可能接近要绘制的对象上最高光色调的背景。这将清楚地显示轮廓。就肖像画而言，挂在脑后的报纸效果很好，而且总是很容易获得。它的色调可以根据它与头部的距离以及它远离或转向光线的角度而变化。

Although one has selected a strong half light and half shade effect to illustrate the general principles of light and shade, it is not advisable in making line drawings to select such a position. A point of view with a fairly wide light at your back is the best. In this position little shadow will be seen, most of the forms being expressed by the play of light and half tone. The contours, as they are turned away from the light, will naturally be darker, and against a light background your subject has an appearance with dark edges that is easily expressed by a line drawing. Strong light and shade effects should be left for mass drawing. You seldom see any shadows in Holbein’s drawings; he seems to have put his sitters near a wide window, close against which he worked. Select also a background as near the tone of the highest light on the object to be drawn as possible. This will show up clearly the contour. In the case of a portrait drawing, a newspaper hung behind the head answers very well and is always easily obtained. The tone of it can be varied by the distance at which it is placed from the head, and by the angle at which it is turned away from or towards the light.

不要用沉重的半色调和阴影来增加线条画的负担；让它们保持轻便。线条画的独特之处在于轮廓之美，而这种美被浓重的明暗所破坏。伟大的绘图家只用足够的方式来表达形式，而从不尝试表达语气。将半色调视为灯光的一部分，而不是阴影的一部分。

Don’t burden a line drawing with heavy half tones and shadows; keep them light. The beauty that is the particular province of line drawing is the beauty of contours, and this is marred by heavy light and shade. Great draughtsmen use only just enough to express the form, but never to attempt the expression of tone. Think of the half tones as part of the lights and not as part of the shadows.

画线的方法有很多种，任何有创意的学生都会找到适合自己气质的一种。但我将尝试并说明一个至少合乎逻辑的，并且通常可以作为一种公平的线条画类型。

There are many different methods of drawing in line, and a student of any originality will find one that suits his temperament. But I will try and illustrate one that is at any rate logical, and that may serve as a fair type of line drawing generally.

一个物体的外观首先被认为是一系列轮廓，一些轮廓形成了背景下的形式的边界，而另一些则形成了这些边界线内的从属形式的边界。明暗和局部颜色的差异（如头部的嘴唇、眉毛和眼睛）被一起考虑为不同程度的明暗色调，并通过从左到右在绘图上平行绘制的线条来表示，从下往上，反之亦然，当需要深度时，颜色更深且更紧密；当需要精致时，颜色更淡且距离更远；当需要渐变时，厚度变化。只有当明显的形状需要时，例如头发的摆动线、突出的骨头或紧张的肌肉等，平行阴影的规则才会被打破。这种平行的阴影给绘画带来了表面和肉感的美感。可以说，线条遵循光线穿过物体的方向，而不是形状，给人一种具有巨大魅力的统一性。它更适合需要极其精致的形式的绘画，通常用于银点作品，这是一种能够达到极致精致的媒介。

The appearance of an object is first considered as a series of contours, some forming the boundaries of the form against the background, and others the boundaries of the subordinate forms within these bounding lines. The light and shade and differences of local colour (like the lips, eyebrows, and eyes in a head) are considered together as tones of varying degrees of lightness and darkness, and suggested by means of lines drawn parallel across the drawing from left to right, and from below upwards, or vice versa, darker and closer together when depth is wanted, and fainter and farther apart where delicacy is demanded, and varying in thickness when gradation is needed. This rule of parallel shading is broken only when strongly marked forms, such as the swinging lines of hair, a prominent bone or straining muscles, &c., demand it. This parallel shading gives a great beauty of surface and fleshiness to a drawing. The lines following, as it were, the direction of the light across the object rather than the form, give a unity that has a great charm. It is more suited to drawings where extreme delicacy of form is desired, and is usually used in silver point work, a medium capable of the utmost refinement.

板 XIX

Plate XIX

展示暗示饱满

和缩短的曲线

ILLUSTRATING CURVED LINES SUGGESTING FULLNESS

AND FORESHORTENING

板 XX

Plate XX

《爱离心灵》图画中爱情形象的研究说明绘画方法

STUDY FOR THE FIGURE OF LOVE IN THE PICTURE “LOVE LEAVING

PSYCHE ” ILLUSTRATING A METHOD OF DRAWING

除非突出的形式另有要求，否则阴影线遵循方便的平行方向

。

The lines of shading following a convenient parallel direction unless prominent

forms demand otherwise.

在这种方法中，阴影线的方向或弯曲程度没有太大变化，传达了最少量的“形状刺激”。阴影中线条的弯曲大大增加了浮雕的力量，并暗示了更强的造型。在透视缩短效果的情况下，形状最完整，一个在另一个之上拱起，阴影线中的一些曲率对于增加透视缩短的外观具有相当大的优势。（参见第 100 页插图。）

In this method the lines of shading not being much varied in direction or curved at all, a minimum amount of that “form stimulus” is conveyed. The curving of the lines in shading adds considerably to the force of the relief, and suggests much stronger modelling. In the case of foreshortened effects, where the forms are seen at their fullest, arching one over the other, some curvature in the lines of shading is of considerable advantage in adding to the foreshortened look. (See illustration, page 100.)

沿着形体绘制的线条给人一种力量和韧性的外观，一种紧张的感觉。这种品质对于暗示诸如关节和肌腱、岩石、坚硬的地面或粗糙的树干等事物非常有用。在人物绘画中，谨慎使用是一种有趣的品质，阴影是根据跨形式原则完成的；并暗示质地的差异或形式的紧张。向各个方向绘制的阴影线相互交叉并分解成色调效果，暗示着气氛和表面形式的缺失。这更常用于钢笔画的背景，而在铅笔或粉笔画中很少需要，因为它们更关心形式而不是气氛。由于易于复制和印刷，钢笔和墨水在插图作品中更常用于精致的图形效果；正是在这里，人们经常发现这种混乱的线点质量被用来填充间隙并使音调均匀。

Lines drawn down the forms give an appearance of great strength and toughness, a tense look. And this quality is very useful in suggesting such things as joints and sinews, rocks, hard ground, or gnarled tree-trunks, &c. In figure drawing it is an interesting quality to use sparingly, with the shading done on the across-the-form principle; and to suggest a difference of texture or a straining of the form. Lines of shading drawn in every direction, crossing each other and resolving themselves into tone effects, suggest atmosphere and the absence of surface form. This is more often used in the backgrounds of pen and ink work and is seldom necessary in pencil or chalk drawing, as they are more concerned with form than atmosphere. Pen and ink is more often used for elaborate pictorial effects in illustration work, owing to the ease with which it can be reproduced and printed; and it is here that one often finds this muddled quality of line spots being used to fill up interstices and make the tone even.

一般来说，在形状上绘制的阴影线表示柔和，在曲线上绘制的线条表示形状的饱满，在形状上绘制的线条坚硬，在各个方向上交叉的线条只产生一种神秘的色调和气氛。如果明智地使用线条的这四种品质，就会为您的阴影增添大量的表现力。而且，正如下一章将要解释的那样，绘画中画笔摆动的方向也适用同样的原理。

Speaking generally, lines of shading drawn across the forms suggest softness, lines drawn in curves fulness of form, lines drawn down the forms hardness, and lines crossing in all directions so that only a mystery of tone results, atmosphere. And if these four qualities of line be used judiciously, a great deal of expressive power is added to your shading. And, as will be explained in the next chapter, somewhat the same principle applies to the direction of the swing of the brush in painting.

阴影线不应该从左到右前后绘制（潦草的），除非需要神秘的阴影并且线条在各个方向都有交叉；但当线条被用来表达形式时就永远不会。它们没有得到充分的控制，而且转弯时出现的一点额外的厚度也很麻烦。

Shading lines should never be drawn backwards and forwards from left to right (scribbled), except possibly where a mystery of shadow is wanted and the lines are being crossed in every direction; but never when lines are being used to express form. They are not sufficiently under control, and also the little extra thickness that occurs at the turn is a nuisance.

阴影中的线条交叉使外观更加不透明。这对于暗示最接近灯光的阴影部分中出现的较暗通道的不透明外观很有用；有时也用在半色调中。

The crossing of lines in shading gives a more opaque look. This is useful to suggest the opaque appearance of the darker passage that occurs in that part of a shadow nearest the lights; and it is sometimes used in the half tones also.

绘图师对头发的处理差异很大，不同品质的头发需要不同的处理。点画的独特美在于线条的摆动和流动。这些在灯光下尤其明显。在阴影中，线条的流动常常停止，取而代之的是神秘的阴影。因此，摆动线条与阴影通道交替的游戏，就像所有其他阴影一样，用不遵循形状的平行线绘制，通常是有效的，并且暗示了自然界中头发的质量。摆动线的粗细应沿其路线变化，当它们经过某些部分时变暗，并根据所需的效果在其他部分逐渐变浅。（参见第 102 页插图。）

Draughtsmen vary very much in their treatment of hair, and different qualities of hair require different treatment. The particular beauty of it that belongs to point drawing is the swing and flow of its lines. These are especially apparent in the lights. In the shadows the flow of line often stops, to be replaced by a mystery of shadow. So that a play of swinging lines alternating with shadow passages, drawn like all the other shadows with parallel lines not following the form, is often effective, and suggests the quality of hair in nature. The swinging lines should vary in thickness along their course, getting darker as they pass certain parts, and gradating into lighter lines at other parts according to the effect desired. (See illustration, page 102.)

板二十一

Plate XXI

红粉笔研究

说明了线条处理头发的方法。

STUDY IN RED CHALK

Illustrating a treatment of hair in line-work.

板二十二

Plate XXII

照片诺尔登

Photo Neurdein

亚眠的装饰研究

PUVIS DE CHAVANNES 的“休息”

STUDY FOR DECORATION AT AMIENS “REPOSE”

BY PUVIS DE CHAVANNES

注意如何寻找轮廓的表现形式，通过举起手臂的直角赋予坐姿的力量，以及右手人物的直立活力与中间人物的柔和线条之间的对比

Note how the contours are searched for expressive forms, the power given to the seated figure by the right angle of the raised arm, and the contrast between the upright vigour of the right-hand figure with the softer lines of the middle one

综上所述，在画线的方法中，我们试图解释（本书中作者大多数绘图所采用的方法），阴影线是在易于手感的方向上平行制作的，除非有一些情况。形式的质量表明他们遵循其他方向。因此，当您不确定它们应该遵循哪个方向时，请根据平行原则绘制它们。这可以保持作品的统一性，并允许出于特殊原因在其他方向绘制的线条表现出表达力。

To sum up, in the method of line drawing we are trying to explain (the method employed for most of the drawings by the author in this book) the lines of shading are made parallel in a direction that comes easy to the hand, unless some quality in the form suggests their following other directions. So that when you are in doubt as to what direction they should follow, draw them on the parallel principle. This preserves a unity in your work, and allows the lines drawn in other directions for special reasons to tell expressively.

正如已经解释过的，在绘画中，将注意力集中在准确地复制任何事物的视觉外观上是不够的，尽管准确的观察能力很重要。首先必须欣赏要表达的形式。教学科学在这里失败了。“你可以把马带到喷泉边，但你不能让他喝水。”在艺术中，你可以把学生带到可以欣赏事物的角度，但你不能让他看到。那么，如何发展这种对形式的欣赏呢？只需通过喂养即可。熟悉你能找到的所有最好的绘画例子，尝试在自然界中看到相同的品质。研究一下第 103 页上复制的 Puvis de Chavannes 的精彩绘画。注意寻找轮廓以寻求表现力的方式。看看坐姿人物背部的富有表现力的线条是如何被“感觉到”的，以及直角举起的手臂的有力表现（见后面第155页，线条节奏章节）。然后观察两个站立人物的不同类型；一个的实际活力和另一个的柔和优雅，以及如何研究它们的轮廓来表达这种感觉，等等。这张图中有一座知识宝库有待挖掘。

As has already been explained, it is not sufficient in drawing to concentrate the attention on copying accurately the visual appearance of anything, important as the faculty of accurate observation is. Form to be expressed must first be appreciated. And here the science of teaching fails. “You can take a horse to the fountain, but you cannot make him drink,” and in art you can take the student to the point of view from which things are to be appreciated, but you cannot make him see. How, then, is this appreciation of form to be developed? Simply by feeding. Familiarise yourself with all the best examples of drawing you can find, trying to see in nature the same qualities. Study the splendid drawing by Puvis de Chavannes reproduced on page 103. Note the way the contours have been searched for expressive qualities. Look how the expressive line of the back of the seated figure has been “felt,” the powerful expression of the upraised arm with its right angle (see later page 155, chapter on line rhythm). And then observe the different types of the two standing figures ; the practical vigour of the one and the soft grace of the other, and how their contours have been studied to express this feeling, &c. There is a mine of knowledge to be unearthed in this drawing.

从来没有哪个时代可以为学生提供如此多的艺术食物。廉价的复制手段以几便士的价格将世界各地的画廊和收藏品以方便的形式带到了我们的家门口。危险不是来自饥饿，而是来自消化不良。学生们对好东西太多了，以至于常常无法消化它们；但他们会匆忙地从一个例子到另一个例子，对所提供的内容只做快照，直到他们自然的欣赏能力陷入混乱想法的完美旋风中。那么该怎么办呢？这些天你无法避免向你扔来的好东西，但是当你遇到任何让你觉得特别好的东西时，深深地吸收它。将其挂在您经常看到的地方；例如，在你的卧室里，如果你不幸失眠的话，它会在那里度过你的不眠之夜。一开始你可能会喜欢非常普通的图画，美丽、如画和棘手的东西可能会在更美好的事物的崇高之前吸引人。但要非常诚实，以你真正喜欢的最好的东西为食，当你彻底消化和理解它时，你会厌倦它并渴望更好的东西，因此，逐渐地，你会被引导去欣赏你能力范围内最好的东西。的欣赏。

There never was an age when such an amount of artistic food was at the disposal of students. Cheap means of reproduction have brought the treasures of the world’s galleries and collections to our very doors in convenient forms for a few pence. The danger is not from starvation, but indigestion. Students are so surfeited with good things that they often fail to digest any of them; but rush on from one example to another, taking but snapshot views of what is offered, until their natural powers of appreciation are in a perfect whirlwind of confused ideas. What then is to be done? You cannot avoid the good things that are hurled at you in these days, but when you come across anything that strikes you as being a particularly fine thing, feed deeply on it. Hang it up where you will see it constantly; in your bedroom, for instance, where it will entertain your sleepless hours, if you are unfortunate enough to have any. You will probably like very indifferent drawings at first, the pretty, the picturesque and the tricky will possibly attract before the sublimity of finer things. But be quite honest and feed on the best that you genuinely like, and when you have thoroughly digested and comprehended that, you will weary of it and long for something better, and so, gradually, be led on to appreciate the best you are capable of appreciating.

在结束本章之前，可能会提到一两个与头部绘制相关的点，因为学生并不总是充分注意它们。

Before closing this chapter there are one or two points connected with the drawing of a head that might be mentioned, as students are not always sufficiently on the look out for them.

在第 107 页的图表中，让图 1 代表一只正常的眼睛。在图 2 中，我们去除了皮肤和肌肉，并暴露了眼睛形式的两个主要结构特征，即眼窝的骨环和包含晶状体和视网膜的球体。检查这个开口，我们发现从A点到B点，它平滑地延伸到鼻子顶部的骨突出处，其余边缘很锋利，从C点到E点相当自由。锋利的边缘从 A 点开始，从一个小孔开始；眼角位于该点附近：A，图 2 和 3。1、2、3。从 A 点到 F 点，开口的骨边缘非常靠近表面，应该寻找。

In our diagram on page 107, let Fig. 1 represent a normal eye. At Fig. 2 we have removed the skin and muscles and exposed the two main structural features in the form of the eye, namely the bony ring of the socket and the globe containing the lenses and retina. Examining this opening, we find from A to B that it runs smoothly into the bony prominence at the top of the nose, and that the rest of the edge is sharp, and from point C to E quite free. It is at point A, starting from a little hole, that the sharp edge begins; and near this point the corner of the eye is situated: A, Figs. 1, 2, 3. From points A to F the bony edge of the opening is very near the surface and should be looked for.

接下来要注意的是，眉毛首先沿着骨开口的上边缘从 B 到 C，但从 C 点开始，它穿过 C 和 D 之间的自由弓，并很快结束。因此，考虑到眉毛的下侧，从 C 点到 B 点通常有一个海绵状凹陷，从 C 点到 D 点有一个突出物。眼睛的特征变化很大，这种效果通常会因填充眼睑和眉毛之间的空间的肉质丰满而改变，但几乎总是在 C 附近的某个点观察到一些变化的迹象，并且应该受到关注。从这一点到 D 的任何骨突出都应该仔细构建。因此，请注意 CD 点和 A F 点之间的骨头。

The next thing to note is the fact that the eyebrow at first follows the upper edge of the bony opening from B to C, but that from point C it crosses the free arch between C and D and soon ends. So that considering the under side of the eyebrow, whereas from point C towards B there is usually a cavernous hollow, from C towards D there is a prominence. The character of eyes varies greatly, and this effect is often modified by the fleshy fulness that fills in the space between the eyelid and the brow, but some indication of a change is almost always to be observed at a point somewhere about C, and should be looked out for. Any bony prominence from this point towards D should be carefully constructed. Look out for the bone, therefore, between the points C D and A F.

在画眼睛时，永远不要忘记，我们所说的眼白是球体的一部分，因此具有球体的光影。整个语气很少会是一样的。如果光线来自右侧，那么左侧的阴影就会变暗，反之亦然。眼睑也是放置在这个球形表面上的肉带。因此，它们将参与球体的建模，而不是整个色调相同。特别注意平面的突然变化，通常以褶皱为标志，下眼睑与颧骨的表面相交。忽视构建下眼睑的这些平面是画得不好的眼睛中非常常见的错误。还要注意上眼睑与眉毛下方的肉接触的位置（通常是明显明显的褶皱）以及在该接合处出现的平面差异。在一些眼睛中，当眼睑上方几乎没有松动的肉时，这里有一个深深的凹陷，眼睑在骨突出下方延伸，C D。这是一条重要的结构线，标志着球面的界限眼球的表面，眼睑位于眼球的表面。

Never forget when painting an eye that what we call the white of the eye is part of a sphere and will therefore have the light and shade of a sphere. It will seldom be the same tone all over; if the light is coming from the right, it will be in shade towards the left and vice versa. Also the eyelids are bands of flesh placed on this spherical surface. They will therefore partake of the modelling of the sphere and not be the same tone all across. Note particularly the sudden change of plane usually marked by a fold, where the under eyelid meets the surface coming from the cheek bone. The neglect to construct these planes of the under eyelid is a very common fault in poorly painted eyes. Note also where the upper eyelid comes against the flesh under the eyebrow (usually a strongly marked fold) and the differences of planes that occur at this juncture. In some eyes, when there is little loose flesh above the eyelid, there is a deep hollow here, the eyelid running up under the bony prominence, C D. This is an important structural line, marking as it does the limit of the spherical surface of the eyeball, on which surface the eyelids are placed.

图4是形成眉毛的毛发通常所采取的方向的粗略图。从 A 开始，一些稀少的毛发开始在鼻子上方辐射，并突然在 B 和 E 之间达到最厚和最强的生长。它们继续，仍然遵循稍微辐射的路线，直到 D。现在这些毛发与另一批毛发相遇，从上到下开始，并从 B 生长到 C。眉毛被草稿认为是具有一定形状和边缘质量的色调。我们在这里感兴趣的是注意这种增长顺序对其作为音调的出现的影响。B 点和 E 点之间头发的强劲向上生长与向下生长的交汇处通常形成眉毛最暗的部分。朝 D 方向的毛发聚集在一起常常会在这个方向上形成另一个黑暗部分。从 C 到 B 的边缘几乎总是柔和的，音调融入肉中，这一点应该引起注意，因为它给线条的运行带来了相当多的变化。另一件使这个边缘变得柔和的事情是，这里有一个骨头突出，并且通常有一个穿过眉毛的高光。从 C 到 D，您通常会发现较尖锐的边缘，即毛发与眉毛线平行，而从 D 到 E 和 A 到 B 则可以看到较柔和的边界。主要口音通常出现在 B 处，那里经常有一块黑色的物体与前额的色调形成鲜明的对比。

Fig. 4 is a rough diagram of the direction it is usual for the hairs forming the eyebrow to take. From A a few scant hairs start radiating above the nose and quite suddenly reach their thickest and strongest growth between B and E. They continue, still following a slightly radiating course until D. These hairs are now met by another lot, starting from above downwards, and growing from B to C. An eyebrow is considered by the draughts-manas a tone of a certain shape and qualities of edge. And what interests us here is to note the effect of this order of growth upon its appearance as tone. The meeting of the strong growth of hair upwards with the downward growth between points B and E creates what is usually the darkest part of the eyebrow at this point. And the coming together of the hairs towards D often makes another dark part in this direction. The edge from C to B is nearly always a soft one, the tone melting into the flesh, and this should be looked out for, giving as it does a pretty variety to the run of the line. Another thing that tends to make this edge soft is the fact that a bony prominence is situated here and has usually a high light upon it that crosses the eyebrow. From C to D you usually find a sharper edge, the hairs running parallel to the line of the eyebrow, while from D to E and A to B a softer boundary can be looked for. The chief accent will generally be found at B, where a dark mass often comes sharply against the tone of the forehead.

图六

Diagram VI

说明一些与眼睛有关的点，

在绘制头部时并不总是被观察到

ILLUSTRATING SOME POINTS CONNECTED WITH THE EYES

NOT ALWAYS OBSERVED IN DRAWING A HEAD

睫毛在画头部​​时并没有多大作用，除非它们影响色调印象。首先，当光线在上方时，它们会遮蔽眼白，通常情况就是如此。它们在眼睑的外侧比内侧厚得多，并且有向外生长的趋势，因此当光线从左侧射来时，如图5箭头所示，眼睑的白色A 1 处的眼睛不会有太多阴影，浅色调几乎会延伸到顶部。但是在 B 4 处，应该是这只眼睛的光侧，浓密的睫毛会稍微遮住它，因此光线不会向上传播太远，而 B 3 和 A 2 将在转身时处于阴影中从眼白球面的光线方向看。

The eyelashes do not count for much in drawing a head, except in so far as they affect the tone impression. In the first place they shade the white of the eye when the light is above, as is usually the case. They are much thicker on the outer than on the inner side of the eyelids, and have a tendency to grow in an outward direction, so that when the light comes from the left, as is shown by arrow, Fig. 5, the white of the eye at A 1 will not be much shaded, and the light tone will run nearly up to the top. But at B 4, which should be the light side of this eye, the thick crop of eyelashes will shade it somewhat and the light will not run far up in consequence, while B 3, A 2 will be in the shade from the turning away from the direction of the light of the spherical surface of the whites of the eyes.

这些看似微不足道的要点，但遵守这些小要点会对头部的构造产生很大的影响。

These may seem small points to mention, but the observance of such small points makes a great difference to the construction of a head.

图 6 给出了一系列轮廓完全相同的块，其中的线条显示了头部的不同动作如何影响特征悬挂的引导线；以及即使轮廓没有变化，如何建议这些行动。当头部处于简单的全脸位置以外的任何位置时，都应该仔细观察这些拱形。

Fig. 6 gives a series of blocks all exactly alike in outline, with lines showing how the different actions of the head affect the guide lines on which the features hang ; and how these actions can be suggested even when the contours are not varied. These archings over should be carefully looked out for when the head is in any but a simple full face position.

九

IX

大规模绘图：实用

MASS DRAWING: PRACTICAL

这是油画绘画所关注的绘画形式。有时对绘画和绘画之间的区别是错误的，因为它传达了绘画与绘画不同的任何想法。绘画是加上色彩和色调的复杂化的绘画（即形式的表达）。并且以充满颜料的画笔作为工具，必须采用某种形式的大规模绘画。因此，在学生学习线条画的同时，他应该开始习惯这种另一种观察方法，通过尝试非常简单的毛笔绘画练习。

THIS is the form of drawing with which painting in the oil medium is properly concerned. The distinction between drawing and painting that is sometimes made is a wrong one in so far as it conveys any idea of painting being distinct from drawing. Painting is drawing (i.e. the expression of form) with the added complication of colour and tone. And with a brush full of paint as your tool, some form of mass drawing must be adopted. So that at the same time that the student is progressing with line drawing, he should begin to accustom himself to this other method of seeing, by attempting very simple exercises in drawing with the brush.

大多数物体可以大致分为三种色调：灯光（包括高光）、半色调和阴影。应该尽早养成将事物简化为三个音调的简单方程的习惯，作为构建复杂外观的基础。

Most objects can be reduced broadly into three tone masses, the lights (including the high lights), the half tones, and the shadows. And the habit of reducing things into a simple equation of three tones as a foundation on which to build complex appearances should early be sought for.

这是一个用画笔进行大规模绘画的简单练习，据我所知，从未向年轻学生提供过。选择一个简单的物体：一些艺术学校常见的悬挂水果模型就可以了。将其放置在强光和阴影处，最好是人造光，因为它不那么微妙，因此更容易；光线来自右手或左手，但不是来自前方。尝试进行安排，使铸件的底色与浮雕中的半色调大致相同。

Here is a simple exercise in mass drawing with the brush that is, as far as I know, never offered to the young student. Select a simple object: some of those casts of fruit hanging up that are common in art schools will do. Place it in a strong light and shade, preferably by artificial light, as it is not so subtle, and therefore easier; the light coming from either the right or left hand, but not from in front. Try and arrange it so that the tone of the ground of your cast comes about equal to the half tones in the relief.

一组四张来自演员不同阶段的同一幅画作的照片

SET OF FOUR PHOTOGRAPHS OF THE SAME PAINTING FROM A CAST IN DIFFERENT STAGES

不，我；封锁了被质量占据的空间的形状。

No. I; Blocking out the shape fof spaces to be occupied by masses.

不。 a 整体上已经涂抹了中间色调，现在画了灯光；它们的形状以及它们边缘失去根据的作用正在被观察。渐变是通过较薄的油漆获得的，它与地面的湿中间色调混合，并变暗。

No. a A middle tone having been scrumbled over the whole, the lights are now painted; their shapes and the play of lost-foundedness on their edges being observed. Gradations are got by thinner paint, which is mixed with the wet middle tone of the ground, and is darkened.

一组四张来自演员不同阶段的同一幅画作的照片

SET OF FOUR PHOTOGRAPHS OF THE SAME PAINTING FROM A CAST IN DIFFERENT STAGES

No.3 与上一个相同，增加了深色；变化的方式与灯的情况相同，只是这里较薄的部分更亮，而在灯的情况下则更暗。

No. 3 The same as the last, with the addition of the darks; variety being get in the same way as in the case of the lights, only here the thinner part is lighter, whereas in the case of the lights it was darker.

4 已完成的工作，添加了改进并纠正了错误。

No 4 The finished work, refinements being added and mistakes corrected.

首先用木炭强烈地画出物体的轮廓，仔细注意阴影的形状，非常小心地将它们的形状按相对于彼此的真实比例用方形线勾勒出来，不要担心其他事情。让它成为你随后表达形式的背景，而不是绘画——事实上，与建议你在线条画的情况下使用的脚手架相同，只是在这种情况下，正确的绘画是用点来完成的，在这种情况下，正确的绘画是用充满油漆的画笔来完成的。用喷雾扩散器和通常的白虫胶在烈酒中的溶液将木炭固定好。

First draw in the outlines of the masses strongly in charcoal, noting the shapes of the shadows carefully, taking great care that you get their shapes blocked out in square lines in true proportion relative to each other, and troubling about little else. Let this be a setting out of the ground upon which you will afterwards express the form, rather than a drawing—the same scaffolding, in fact, that you were advised to do in the case of a line drawing, only, in that case, the drawing proper was to be done with a point, and in this case the drawing proper is to be done with a brush full of paint. Fix the charcoal well with a spray diffuser and the usual solution of white shellac in spirits of wine.

取原始的棕色和白色（油画颜料），混合出您认为等于您面前演员的半色调的色调。匹配这种语气时应格外小心。现在用大刷子均匀地涂抹在整个画布上（或者你正在研究的任何东西）。不要使用太多介质，但如果太硬而无法涂得足够薄，请加一点油，但不要松节油。涂抹是指将颜色擦到画布上，快速地从一侧到另一侧操作画笔，并仅铺设覆盖表面的最薄的纯色。如果做得正确，并且您的绘图固定得很好，您将能够透过油漆看到它。现在混合一个等于演员上最高光的色调，并在你的研究中简单地绘制出光团的形状，留下半色调的杂乱色调。仔细注意光团在哪里与半色调形成鲜明对比，以及在哪里柔和地融入其中。

Taking raw umber and white (oil paint), mix up a tone that you think equal to the half tones of the cast before you. Extreme care should be taken in matching this tone. Now scumble this with a big brush equally over the whole canvas (or whatever you are making your study on). Don’t use much medium, but if it is too stiff to go on thinly enough, put a little oil with it, but no turpentine. By scumbling is meant rubbing the colour into the canvas, working the brush from side to side rapidly, and laying just the thinnest solid tone that will cover the surface. If this is properly done, and your drawing was well fixed, you will just be able to see it through the paint. Now mix up a tone equal to the highest lights on the cast, and map out simply the shapes of the light masses on your study, leaving the scumbled tone for the half tones. Note carefully where the light masses come sharply against the half tones and where they merge softly into them.

您会发现地面的杂乱色调会与您正在绘画的灯光色调混合，并使其变暗一些。这将使您能够获得所需的灯光色调变化。涂得越厚，色调就越浅，而涂得越薄，受原始半色调的影响就越大，因此会变暗。完成后，混合与最暗阴影相同的色调，然后按照与灯光相同的方式绘制阴影；仔细注意它们在半色调中的尖锐位置以及丢失的位置。在阴影的情况下，你画得越厚，色调就越暗；并且越薄，越轻。

You will find that the scumbled tone of your ground will mix with the tone of the lights with which you are painting, and darken it somewhat. This will enable you to get the amount of variety you want in the tone of the lights. The thicker you paint the lighter will be the tone, while the thinner paint will be more affected by the original half tone, and will consequently be darker. When this is done, mix up a tone equal to the darkest shadow, and proceed to map out the shadows in the same way as you did the lights ; noting carefully where they come sharply against the half tone and where they are lost. In the case of the shadows the thicker you paint the darker will be the tone; and the thinner, the lighter.

当灯光和阴影被绘制出来后，如果做得很准确，那么你的工作应该会取得很大的进展。现在仍然需要根据您的需要，到处纠正和完善它。将你的作品放在演员旁边，然后走回来纠正它。近距离时不明显的缺陷，在稍远的地方就很容易看到。

When the lights and shadows have been mapped out, if this has been done with any accuracy, your work should be well advanced. And it now remains to correct and refine it here and there, as you feel it wants it. Place your work alongside the cast, and walk back to correct it. Faults that are not apparent when close, are easily seen at a little distance.

我并不认为这是正确或唯一的绘画方式，但我确实建议这种描述的练习将教会学生许多绘画的基本要素，例如如何奠定基调，如何管理等基本知识画笔，如何将外观分解为简单的色调结构，以及如何操纵颜料以表达所需的形状。据我所知，这种基本的绘画从来都不是作为练习来进行的，目前绘画的研究仅限于纸和木炭或粉笔媒介。炭笔画是最接近这种“绘画绘画”的东西，它是一种半线半体画的混合方法。尽管与绘画有关，但它与用颜料表达形式有很大不同，并且不能替代一些基本的画笔练习。使用木炭而忽视线条绘制常常会让学生陷入草率的工作方式，并且对于眼睛和手部清晰、明确的陈述来说并不是很好的训练。它的受欢迎程度毋庸置疑，因为您可以用很少的知识来获得很大的效果。虽然这种画中调绝不是唯一的绘画方法，但我确实觉得这是研究用笔表现形式的最好方法。

I don’t suggest that this is the right or only way of painting, but I do suggest that exercises of this description will teach the student many of the rudimentary essentials of painting, such elementary things as how to lay a tone, how to manage a brush, how to resolve appearances into a simple structure of tones, and how to manipulate your paint so as to express the desired shape. This elementary paint drawing is, as far as I know, never given as an exercise, the study of drawing at present being confined to paper and charcoal or chalk mediums. Drawing in charcoal is the nearest thing to this “paint drawing,” it being a sort of mixed method, half line and half mass drawing. But although allied to painting, it is a very different thing from expressing form with paint, and no substitute for some elementary exercise with the brush. The use of charcoal to the neglect of line drawing often gets the student into a sloppy manner of work, and is not so good a training to the eye and hand in clear, definite statement. Its popularity is no doubt due to the fact that you can get much effect with little knowledge. Although this painting into a middle tone is not by any means the only method of painting, I do feel that it is the best method for studying form expression with the brush.

但是，当您进行着色时，首先在整体上绘制不透明的中间色调（或半色调）的事实会破坏阴影的清晰度和透明度，并且还可能会干扰灯光下颜色的亮度。当考虑颜色时，可能需要采取许多权宜之计，但在达到更进一步的阶段之前，最好不要太麻烦。但没有必要在阴影上绘制半色调。在色彩工作中，可以制作灯光的半色调或中间色调，以及阴影的中间色调，这两者首先分别绘制，仔细研究和完成它们聚集在一起的边缘。然后可以添加灯光和阴影中的各种色调。通过这种方式，保留了光和阴影之间颜色质量的差异。这是一个重要的考虑因素，因为它们之间通常存在强烈的对比，如果灯光是冷的，阴影通常是暖的，反之亦然；而这种对比极大地影响了色彩的活力。

But, when you come to colour, the fact of the opaque middle tone (or half tone) being first painted over the whole will spoil the clearness and transparency of your shadows, and may also interfere with the brilliancy of the colour in the lights. When colour comes to be considered it may be necessary to adopt many expedients that it is as well not to trouble too much about until a further stage is reached. But there is no necessity for the half tone to be painted over the shadows. In working in colour the half tone or middle tone of the lights can be made, and a middle tone of the shadows, and these two first painted separately, the edges where they come together being carefully studied and finished. Afterwards the variety of tone in the lights and the shadows can be added. By this means the difference in the quality of the colour between lights and shadows is preserved. This is an important consideration, as there is generally a strong contrast between them, the shadows usually being warm if the lights are cool and vice versa ; and such contrasts greatly affect the vitality of colouring.

总是尽量用一笔画完成尽可能多的事情；当触摸得灵巧时，油漆就会具有生命力，大量的操作和持续的触摸会杀死人。仔细观察您想要表达的色调的形状和变化，并尝试操纵画笔的摆动，以便一次触摸即可达到您想要的形状和渐变的质量。请记住，当您将灯光绘制为中间色调时，笔触最轻的部分将是画笔首先接触画布的地方；随着画笔中油漆量的减少，色调将更容易受到绘画内容的影响，并变得更暗。在绘制阴影时，笔画最暗的部分将是画笔第一次接触画布的地方；当你画笔中的颜料变少时，它会逐渐变浅，因此更容易受到你所绘画的色调的影响。如果你的画笔非常满，那么几乎不会受到太大影响。如果一个人想要一种清晰的触感，就像在釉面壶上画闪亮的光一样，就会使用一支非常完整的画笔。但一般来说，用尽可能少的油漆来获得效果。较薄的油漆更容易精炼和操作。如果你画的是坚实的中间色调，就不用担心它不坚实。

Try always to do as much as possible with one stroke of the brush; paint has a vitality when the touches are deft, that much handling and continual touching kills. Look carefully at the shape and variety of the tone you wish to express, and try and manipulate the swing of your brush in such a way as to get in one touch as near the quality of shape and gradation you want. Remember that the lightest part of your touch will be where the brush first touches the canvas when you are painting lights into a middle tone; and that as the amount of paint in the brush gets less, so the tone will be more affected by what you are painting into, and get darker. And in painting the shadows, the darkest part of your stroke will be where the brush first touches the canvas; and it will gradually lighten as the paint in your brush gets less and therefore more affected by the tone you are painting into. If your brush is very full it will not be influenced nearly so much. And if one wants a touch that shall be distinct, as would be the case in painting the shiny light on a glazed pot, a very full brush would be used. But generally speaking, get your effects with as little paint as possible. Thinner paint is easier to refine and manipulate. There will be no fear of its not being solid if you are painting into a solidly scumbled middle tone.

许多迷人的事情都是用固体和透明涂料的混合物来完成的，但一开始最好不要让问题变得太复杂，因此把它留到以后，当你有能力解决颜色问题时。保持你早期的单色和彩色作品相当扎实，但尽可能薄，为那些你希望不被你所绘画的内容影响的场合保留较厚的油漆。

Many charming things are to be done with a mixture of solid and transparent paint, but it is well at first not to complicate the problem too much, and therefore to leave this until later on, when you are competent to attack problems of colour. Keep your early work both in monochrome and colour quite solid, but as thin as you can, reserving thicker paint for those occasions when you wish to put a touch that shall not be influenced by what you are painting into.

也许最好说明一些不同的笔触，并说明每种笔触的不同品质。这些只是作为小学生使用画笔的无数方式的典型例子；当然，每个艺术家都会发展自己的方式。

It will perhaps be as well to illustrate a few of the different brush strokes, and say something about the different qualities of each. These are only given as typical examples of the innumerable ways a brush may be used as an aid to very elementary students; every artist will, of course, develop ways of his own.

触感首先必然取决于画笔的形状，而这些形状是无数的。但它们大致可分为两类：扁平的和圆形的。通常出售的圆形刷子（我们称之为 A 级）具有相当尖锐的尖端，尽管这在某些情况下有帮助，但不利于它们的一般用途。但也制作了圆头的圆刷，这样对于批量绘制来说就方便多了。在有尖点的地方，中央的毛要长得多，因此，当画笔被拉动并按压以使所有的毛都接触画布时，长毛所在的中心的压力是不同的。在两侧。这具有提供整体质量不均等的触感的效果，并且由此提供的多样性难以操纵。因此，我应该建议学生首先尝试使用钝端圆形画笔，因为它们的触感更均匀，而且更适合在色调平面上绘画。

The touch will of necessity depend in the first instance upon the shape of the brush, and these shapes are innumerable. But there are two classes into which they can roughly be divided, flat and round. The round brushes usually sold, which we will call Class A, have rather a sharp point, and this, although helpful in certain circumstances, is against their general usefulness. But a round brush with a round point is also made, and this is much more convenient for mass drawing. Where there is a sharp point the central hairs are much longer, and consequently when the brush is drawn along and pressed so that all the hairs are touching the canvas, the pressure in the centre, where the long hairs are situated, is different from that at the sides. This has the effect of giving a touch that is not equal in quality all across, and the variety thus given is difficult to manipulate. I should therefore advise the student to try the blunt-ended round brushes first, as they give a much more even touch, and one much more suited to painting in planes of tone.

最极端的扁平刷（B类）笔尖又细又短，末端呈尖角，非常受学生欢迎。可以信赖它们会产生完全平坦、均匀的音调，但在侧面以及在触摸开始时具有相当硬的尖锐边缘。事实上，它们的触感就像小方砖一样。但由于它们的种类有限，而且它们所能携带的颜料量太小，只能画出短笔画，所以它们并不是通用的最佳画笔。有时，当需要极大的精致和精致时，它们非常有用，但总的来说，对于绘画绘图员来说，它们并不是很好的工具。通过使用它们的一个或另一个尖角可以得到一些变化，这意味着可以从一开始就进行尽可能小的接触，随着施加更大的压力，接触的大小可以增加，直到刷子的整个表面被发挥作用。它们也经常用于在表格上绘画，第 117 页插图的第二列、第 1 列和第 2 列中说明了这种方式。

The most extreme flat brushes (Class B) are thin and rather short, with sharp square ends, and have been very popular with students. They can be relied upon to give a perfectly flat, even tone, but with a rather hard sharp edge at the sides, and also at the commencement of the touch. In fact, they make touches like little square bricks. But as the variety that can be got out of them is limited, and the amount of paint they can carry so small that only short strokes can be made, they are not the best brush for general use. They are at times, when great refinement and delicacy are wanted, very useful, but are, on the whole, poor tools for the draughtsman in paint. Some variety can be got by using one or other of their sharp corners, by which means the smallest possible touch can be made to begin with, which can be increased in size as more pressure is brought to bear, until the whole surface of the brush is brought into play. They are also often used to paint across the form, a manner illustrated in the second touch, columns 1 and 2 of the illustration on page 117.

更有用的刷子（C 级）兼有平刷和圆刷的特性。它的头发比上一个多得多，更长，并且有一个带圆角的方形顶部。这把刷子带有大量的颜料，会形成均匀的色调，而且，由于边角是圆形的，因此两侧的压力减轻，不会在笔画的两侧留下如此坚硬的边缘。

A more useful brush (Class C) partakes of the qualities of both flat and round. It is made with much more hair than the last, is longer, and has a square top with rounded corners. This brush carries plenty of paint, will lay an even tone, and, from the fact that the corners are rounded and the pressure consequently lessened at the sides, does not leave so hard an edge on either side of your stroke.

另一种最近流行的刷子被制造商称为榛子形状（D 级）。它是一种很好的画笔，因为它是平的，所以可以在平面上绘画，并且有一个圆形的顶部，可以进出各种轮廓。它们的形状各不相同，有些比其他更尖。钝端形式最适合一般用途。这类画笔或 C 类画笔可能最适合我们所描述的大规模绘画练习。但A类、甚至B类也应该尝试一下，找出适合学生特定个性的方法。

Another brush that has recently come into fashion is called a filbert shape (Class D) by the makers. It is a fine brush to draw with, as being flat it paints in planes, and having a rounded top is capable of getting in and out of a variety of contours. They vary in shape, some being more pointed than others. The blunt-ended form is the best for general use. Either this class of brush or Class C are perhaps the best for the exercises in mass drawing we have been describing. But Class A should also be tried, and even Class B, to find out which suits the particular individuality of the student.

板二十五

Plate XXV

说明使用

四类画笔制作的一些典型画笔笔触

ILLUSTRATING SOME TYPICAL BRUSH STROKES MADE WITH

FOUR CLASSES OF BRUSH

A级，圆形；B级，平；C级，圆角全平刷；

D 级，榛子形状。

Class A, round; Class B, flat; Class C, full flat brush with rounded corners;

Class D, filbert shape.

在另一页上，这些不同形状的画笔依次进行了各种触摸。

On opposite page a variety of touches have been made in turn by these different shaped brushes.

在所示的所有笔画中，假设画笔中充满了适量的颜料，其稠度比调色师通常使用的颜料稍稀。为了稀释它，将少许松节油和亚麻籽油等量混合；并在开始工作之前将其调整为轻松的工作一致性，以便不需要任何媒介。

In all the strokes illustrated it is assumed that the brush is moderately full of paint of a consistency a little thinner than that usually put up by colourmen. To thin it, mix a little turpentine and linseed oil in equal parts with it; and get it into easy working consistency before beginning your work, so as not to need any medium.

在第一列（No.1）中，在整个过程中以相等的压力牢固地涂漆。这会为您提供一个色调平面，其边缘与画笔的宽度相同，随着画笔变空，根据笔画的长度以及您是否在较浅或较暗的地面上绘画，逐渐变暗或变浅。

In the first column (No. 1), a touch firmly painted with an equal pressure all along its course is given. This gives you a plane of tone with firm edges the width of your brush, getting gradually darker or lighter as your brush empties, according to the length of the stroke and to whether you are painting into a lighter or darker ground.

在第 2 列中示出了拖动触摸。这是一个非常有用的。将画笔牢牢地放在画布上，然后从点处轻轻拖走，留下渐变的色调。圆形物体的大量造型都是通过这种不同的处理来表达的。危险在于它的使用容易导致绘画方式过于灵巧；灵巧更关心的是描绘事物的巧妙方式，而不是表达的真相。

In column No. 2 a drag touch is illustrated. This is a very useful one. The brush is placed firmly on the canvas and then dragged from the point lightly away, leaving a gradated tone. A great deal of the modelling in round objects is to be expressed by this variety of handling. The danger is that its use is apt to lead to a too dexterous manner of painting; a dexterity more concerned with the clever manner in which a thing is painted than with the truth expressed.

第 3 栏。这是轻轻快速绘制的一笔，画笔仅擦过画布表面。油漆的涂装方式非常明亮，同时又具有柔软的品质。如果刷子只是适度饱满，这样的触感不会有任何硬边，而是具有轻盈、羽毛般的性质。当需要新鲜的颜色时，这是一种最有用的涂漆方式，因为它可以防止一种色调与另一种色调混合并失去其纯度。在头发的绘画中，色调需要保持非常独立，同时又不硬，这是非常有用的。但在演员的单色绘画中，它的作用很小。

Column No. 3. This is a stroke lightly and quickly painted, where the brush just grazes the surface of the canvas. The paint is put on in a manner that is very brilliant, and at the same time of a soft quality. If the brush is only moderately full, such touches will not have any hard edges, but be of a light, feathery nature. It is a most useful manner of putting on paint when freshness of colour is wanted, as it prevents one tone being churned up with another and losing its purity. And in the painting of hair, where the tones need to be kept very separate, and at the same time not hard, it is very useful. But in monochrome painting from the cast it is of very little service.

使用画笔的另一种方法是阴影线，即以相等或不同的粗细绘制多排平行线。这种方法会根据线条是粗、细还是渐变来不同程度地变亮或变暗色调——有点类似于线条作品中绘制阴影线的方式。如果需要修正复杂的模型，并且很难通过灵巧的笔触准确地改变零件，则可以使用此方法。可以用干刷子画过线条，以便将它们与之后的其余作品结合起来。这种绘画方法最近被那些尝试以所谓的克劳德·莫奈方式进行单独的纯色绘画的艺术家所使用，尽管这位大师很少使用如此机械的方法。

Another method of using a brush is hatching, the drawing of rows of parallel lines in either equal or varying thicknesses. This method will lighten or darken a tone in varying degree, according to whether the lines are thick, thin, or gradated—somewhat in the same way that lines of shading are drawn in line work. In cases where the correction of intricate modelling is desired and where it would be very difficult to alter a part accurately by a deft stroke of the brush, this method is useful to employ. A dry brush can be drawn across the lines to unite them with the rest of the work afterwards. This method of painting has lately been much used by those artists who have attempted painting in separate, pure colours, after the so-called manner of Claude Monet, although so mechanical a method is seldom used by that master.

随着你的绘画能力的增强（从你一直在画的线条开始），应该以与所描述的相同的方式尝试手和头的造型。第 110 和 122 页上给出了这种描述练习的插图。不幸的是，这些照片是在绘画过程中的不同阶段从同一研究中拍摄的，并不完全相同，第一幅画的灯光在某些情况下印刷得太暗。但它们表明，当使用中间色调进行绘画时，可以用一种色调来表达多少内容。使用的两种音调标注在右下角。

As your power of drawing increases (from the line drawing you have been doing), casts of hands and heads should be attempted in the same manner as has been described. Illustrations are given of exercises of this description on pages 110 and 122. Unfortunately the photographs, which were taken from the same study at different stages during the painting, are not all alike, the first painting of the lights being too darkly printed in some cases. But they show how much can be expressed with the one tone, when variety is got by using the middle tone to paint into. The two tones used are noted in the right-hand lower corner.

尝试训练自己一次性完成这些研究。但如果你发现自己无法做到这一点，请使用干燥速度较慢的颜色，例如骨棕色和锌白色，它们会保持湿润直到第二天。

Try to train yourself to do these studies at one sitting. But if you find you cannot manage this, use slower drying colours, say bone brown and zinc white, which will keep wet until the next day.

当你开始从生活中学习时，以同样的方式进行，将单色研究画成中间色调。

When you begin studying from the life, proceed in the same way with monochrome studies painted into a middle tone.

如果你完成后发现一切都是错误的，你该怎么办？我应该建议你让它干燥，然后在整个东西上涂上中间色调，就像你一开始所做的那样，这将显示出旧的作品，然后你可以纠正你的绘画并继续绘制灯光和阴影像之前一样。如果只有一部分是错误的，当它相当干燥时，在作品上擦一点用松节油稀释的罂粟油，尽可能少地覆盖表面。如果发现很难将其覆盖，请在画布上呼吸，轻微的水分将有助于其咬合。完成后，用手掌或一块干净的旧亚麻布将其擦掉。现在在您想要修饰的部分上绘制中间色调，小心地将其与周围的作品连接起来，然后像以前一样继续，绘制光和阴影块。

And what are you to do if you find, when you have finished, that it is all wrong ? I should advise you to let it dry, and then scumble a middle tone right over the whole thing, as you did at first, which will show the old work through, and you can then correct your drawing and proceed to paint the lights and shadows as before. And if only a part of it is wrong, when it is quite dry rub a little poppy oil thinned with turpentine over the work, as little as will serve to cover the surface. If it is found difficult to get it to cover, breathe on the canvas, the slightest moisture will help it to bite. When this is done, wipe it off with the palm of your hand or an old piece of clean linen. Now paint a middle tone right over the part you wish to retouch, being careful about joining it up to the surrounding work, and proceed as before, drawing in the light and shadow masses.

一开始您可能会发现这种形式的绘图比较困难。由于已经解释过的原因，观察由轮廓而不是质量组成的物体似乎很自然。应该使用带有棉花的框架来使外观变平，就像绘制轮廓图一样。除此之外，还应使用黑色玻璃。这可以很容易地通过获取一小块玻璃（一张照相底片就可以）并在背面贴上一些黑纸来完成；将其翻过来，以防止玻璃的毛边割伤手指。或者可以在玻璃背面涂上黑色油漆。背对物体和画作站立，将玻璃杯靠近您的一只眼睛（另一只眼睛闭上），这样您就可以看到您的画作和物体。看到如此减少和简化的音调，您将能够更轻松地纠正您的工作。

This form of drawing you will probably find more difficult at first. For the reason already explained it seems natural to observe objects as made up of outlines, not masses. The frame with cottons across it should be used to flatten the appearance, as in making outline drawings. And besides this a black glass should be used. This can easily be made by getting a small piece of glass—a photographic negative will do—and sticking some black paper on the back; turning it over the front to keep the raw edges of the glass from cutting the fingers. Or the glass can be painted on the back with black paint. Standing with your back to the object and your painting, hold this glass close in front of one of your eyes (the other being closed), so that you can see both your painting and the object. Seeing the tones thus reduced and simplified, you will be enabled more easily to correct your work.

我想强调一下毛笔画所必需的放样工作的重要性。虽然没有必要在准备工作中投入大量的表现力，但应尽可能确保其准确性。如果在你建立了一些公平的结构之后，你发现地基放在了错误的位置，并且整个结构必须被拆除和移动，那将是一件非常麻烦的事。前期必须确定好比例和主要质量，并采用方线划线、织针测量等各种手段，以保证这些大尺寸的准确性。比例。感觉可能决定的变化和重点可以在绘画阶段完成。这个初始阶段根本不是真正的绘图，而是一种绘制，因此应该被视为。学生有时会在画布上进行精心准备的绘图的唯一借口是，这使他们能够学习该主题，以便当他们开始绘画时，他们已经对它有所了解。但是，让这些准备图变得有趣的危险在于，学生害怕掩盖它们并失去如此仔细和精心绘制的轮廓；这总是导致画作很差。当你拿起画笔表达自己的时候，一定不要担心伤害了精心的绘画。你的绘画将是用画笔完成的，只有群众的总体布局对你在这个初始阶段的工作有任何用处。千万不要用学生那种害怕失去画作的可怜精神去画画，否则你永远不会在画画上做出任何好事。绘画（表达形式）是你应该一直做的事情。在艺术中​​，“想要拯救自己的作品的人往往会失去它”，如果你能原谅一句深刻的格言的释义的话，就像大多数深刻的格言一样，除了它最初所指的内容之外，它还适用于生活中的许多事情。当一幅画几乎正确时，通常有必要毁掉整个事物，以完成表面上仍然与你想象的它应该有的一点点差距的部分。这就好比一个人冲上一座小山，而他的汽车却无力攀登，他必须跑很长一段路才能到达。如果第一次尝试让他几乎达到顶峰，但还没有完全达到顶峰，他就必须回去重新进行长跑，以给他动力，让他一路走下去。

I should like to emphasise the importance of the setting-out work necessary for brush-drawing. While it is not necessary to put expressive work into this preparatory work, the utmost care should be taken to ensure its accuracy as far as it goes. It is a great nuisance if, after you have put up some of your fair structure, you find the foundations are in the wrong place and the whole thing has to be torn down and shifted. It is of the utmost necessity to have the proportions and the main masses settled at this early stage, and every device of blocking out with square lines and measuring with your knitting-needle, &c., should be adopted to ensure the accuracy of these large proportions. The variations and emphases that feeling may dictate can be done in the painting stage. This initial stage is not really a drawing at all, but a species of mapping out, and as such it should be regarded. The only excuse for making the elaborate preparatory drawings on canvas students sometimes do, is that it enables them to learn the subject, so that when they come to paint it, they already know something about it. But the danger of making these preparatory drawings interesting is that the student fears to cover them up and lose an outline so carefully and lovingly wrought; and this always results in a poor painting. When you take up a brush to express yourself, it must be with no fear of hurting a careful drawing. Your drawing is going to be done with the brush, and only the general setting out of the masses will be of any use to you in the work of this initial stage. Never paint with the poor spirit of the student who fears to lose his drawing, or you will never do any fine things in painting. Drawing (expressing form) is the thing you should be doing all the time. And in art, “he that would save his work must often lose it,” if you will excuse the paraphrase of a profound saying which, like most profound sayings, is applicable to many things in life besides what it originally referred to. It is often necessary when a painting is nearly right to destroy the whole thing in order to accomplish the apparently little that still divides it from what you conceive it should be. It is like a man rushing a hill that is just beyond the power of his motor-car to climb, he must take a long run at it. And if the first attempt lands him nearly up at the top but not quite, he has to go back and take the long run all over again, to give him the impetus that shall carry him right through.

另一种判断色调绘制的方法是我们老用的半闭眼睛的方法。通过降低语气和扩大焦点，您可以更轻松地纠正工作。

Another method of judging tone drawing is our old method of half closing the eyes. This, by lowering the tone and widening the focus, enables you to correct the work more easily.

在色调绘画中，不仅要考虑物体的形状，还要考虑它们的价值，即它们在从暗到亮的想象尺度中的位置。这种不同色调的关系——所谓的明度——在绘画中是一个极其重要的问题。但它更恰当地属于该主题的另一个部门，即色彩，并且它本身需要一卷。但在讨论节奏时会对此主题进行更多讨论。

In tone drawing there is not only the shape of the masses to be considered, but their values—that is, their position in an imagined scale from dark to light. The relation of the different tones in this way—the values, as it is called—is an extremely important matter in painting. But it more properly belongs to the other department of the subject, namely Colour, and this needs a volume to itself. But something more will be said on this subject when treating of Rhythm.

在谈到线条画时，我们看到了如何通过观察线条的平坦度及其与直线的关系来发现线条的特征。同样，造型的特征是通过观察其平面来发现的。因此，在构建复杂的形状（例如头部或人物）时，应该到处寻找平面（或平坦的色调）。正如石雕师在方形表面上雕刻出他的作品一样，正在研究的图形或任何复杂表面的建模都应该在色调平面中进行，首先绘制较大的表面，然后，对这些，添加较小的；当我们看到圆度已经达到，并且边缘有一些融合。好的建模充满了这些平面巧妙地融合在一起。没有什么比“粗圆度”更能体现不良建模的特征了。球体表面是最没有特征的表面，就像圆的曲线一样，也是在良好的建模中最应该避免的表面。

We saw, in speaking of line drawing, how the character of a line was found by observing its flatnesses and its relation to straight lines. In the same way the character of modelling is found by observing its planes. So that in building up a complicated piece of form, like a head or figure, the planes (or flat tones) should be sought for everywhere. As a carver in stone blocks out his work in square surfaces, the modelling of a figure or any complex surface that is being studied should be set out in planes of tone, painting in the first instance the larger ones, and then, to these, adding the smaller; when it will be seen that the roundnesses have, with a little fusing of edges here and there, been arrived at. Good modelling is full of these planes subtly fused together. Nothing is so characteristic of bad modelling as “ gross roundnesses.” The surface of a sphere is the surface with the least character, like the curve of a circle, and the one most to be avoided in good modelling.

在寻找形式的过程中，解剖学知识，尤其是骨骼结构的知识至关重要。在现实主义和自然主义盛行期间，人们对解剖学研究提出了许多严厉的批评。当然，如果它在这些方面被用来超越自然的谦虚，并被用来炫耀以排除生活的魅力和特征，那还不如不去管它。但如果我们要制作一幅能够表达具体事物的图画，我们就必须了解它的结构，无论它是什么。就人物而言，如果不了解其构造机制，就不可能正确理解其动作并以给人留下深刻印象的方式绘制它。但我认为目前解剖学的情况不需要太多说明。永远不要让解剖学知识诱惑你对内部结构进行夸大的陈述，除非这种夸张有助于你想要表达的特定事物。例如，在画一个暴力动作的人物时，它可能对绘画至关重要，而在画一个静止的人物或肖像时，它肯定是不合适的。

In the search for form the knowledge of anatomy, and particularly the bony structures, is of the utmost importance. During the rage for realism and naturalism many hard things were said about the study of anatomy. And certainly, were it to be used to overstep the modesty of nature in these respects and to be paraded to the exclusion of the charm and character of life, it would be as well left alone. But if we are to make a drawing that shall express something concrete, we must know something of its structure, whatever it is. In the case of the human figure it is impossible properly to understand its action and draw it in a way that shall give a powerful impression without a knowledge of the mechanics of its construction. But I hardly think the case for anatomy needs much stating at the present time. Never let anatomical knowledge tempt you into exaggerated statements of internal structure, unless such exaggeration helps the particular thing you wish to express. In drawing a figure in violent action it might, for instance, be essential to the drawing, whereas in drawing a figure at rest or a portrait, it would certainly be out of place.

板二十六

Plate XXVI

一组四张照片，反映同一研究的不同阶段的生活

SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE

IN DIFFERENT STAGES

1.用木炭封锁不同质量所占据的空间。

No. 1. Blocking out the spaces occupied by different masses in charcoal.

板二十七

Plate XXVII

一组四张照片，反映同一研究的不同阶段的生活

SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE

IN DIFFERENT STAGES

No.2. 整体打上中间色调，并在其中画上灯光；通过改变油漆的厚度来获得多样性。深色是由于初始绘图的木炭线通过中间色调显示出来的。

No. 2. A middle tone having been scrumbled over the whole, the lights are painted into it; variety being got by varying the thickness of the paint. The darks are due to the charcoal lines of initial drawing showing through middle tone.

板二十八

Plate XXVIII

一组四张照片，反映同一研究的不同阶段的生活

SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE

IN DIFFERENT STAGES

No.3. 与上一个相同，但添加了阴影；

像以前一样通过改变油漆的厚度来获得多样性。

No. 3. The same as the last, but with the shadows added; variety being got

by varying thickness of paint as before.

板 XXIX

Plate XXIX

一组四张照片，反映同一研究的不同阶段的生活

SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE

IN DIFFERENT STAGES

4号。完成的头部。

No. 4. The completed head.

在关于线条工作的章节中指出：“跨越形状绘制的阴影线表示柔软，以曲线绘制的线条表示形状的饱满，沿着形状绘制的线条硬度，以及在各个方向气氛中交叉的线条，”这些规则适用绘画中笔触（笔触）的方向也同样如此。

In the chapter on line work it was stated that: “Lines of shading drawn across the forms suggest softness, lines drawn in curves fulness of form, lines drawn down the forms hardness, and lines crossing in every direction atmosphere,” and these rules apply equally well to the direction of the brush strokes (the brush work) in a painting.

围绕形状摆动的画笔，总体上暗示了形状的缩短和饱满，跨越形状的柔软性，而顺着形状而下的画笔，则暗示了坚韧和刚硬，并穿越了各个方向的气氛。通过这种方式可以给予形成表达很大的附加力。在丁托列托的《寻找圣马可的尸体》左侧地面上的缩短人物中，可以看到画笔摆动所带来的缩短效果（参见第 236 页插图）。法国亨纳的作品是通过绘画形式获得柔软和肉质品质的极端例子。动物画家詹姆斯·沃德 (James Ward) 的大部分作品都很好地体现了顺着形状而下的笔触所带来的坚韧和坚硬的外观。在他收藏于国家美术馆的画作《哈莱克城堡》第 1158 号中，可以在树干等绘画中看到这一点。

The brush swinging round the forms suggests foreshortening, and fulness of form generally, and across the forms softness, while the brush following down the forms suggests toughness and hardness, and crossing in every direction atmosphere. A great deal of added force can be given to form expression in this way. In the foreshortened figure on the ground at the left of Tintoretto’s “ Finding of the Body of St. Mark,” the foreshortened effect helped by the brush work swinging round can be seen (see illustration, page 236). The work of Henner in France is an extreme instance of the quality of softness and fleshiness got by painting across the form. The look of toughness and hardness given by the brush work following down the forms is well illustrated in much of the work of James Ward, the animal painter. In his picture in the National Gallery, “ Harlech Castle,” No. 1158, this can be seen in the painting of the tree-trunks, &c.

笔法的四面交叉，给人一种大气的感觉，自然常用于绘画背景以及天空、雾气的平面等。

The crossing of the brush work in every direction, giving a look of atmosphere, is naturally often used in painting backgrounds and also such things as the plane surfaces of sky and mist, &c.

当需要柔软度时，在形状上绘画通常很不方便。画笔扫描中只能使用一种颜色，并且颜色的变化通常比沿着形状变化要多得多。对于阴影、半色调和灯光来说，除了色调不同之外，颜色也不同；因此并不总是可以用一种颜色来扫过它们。通常，在颜色可以重叠的阴影、半色调和光带等区域进行绘制会更方便。然而，如果想要这种柔和、肉感的特殊效果，要么画得很薄，要么色调融合在一起，以至于看不到笔触，或者画完后必须用干燥的平笔轻轻地画过，以达到完美的效果。破坏向下的笔触并替换其他横过的笔触，非常小心地只从浅色到深色拖动，并在每次触摸后仔细擦拭画笔；也不要在同一个地方重复两次，否则油漆就会失去活力。这是喜欢这种特殊品质的艺术家经常采用的方法。

It is often inconvenient to paint across the form when softness is wanted. It is only possible to have one colour in your brush sweep, and the colour changes across, much more than down the form as a rule. For the shadows, half tones and lights, besides varying in tone, vary also in colour; so that it is not always possible to sweep across them with one colour. It is usually more convenient to paint down where the colours can be laid in overlapping bands of shadow, half tone and light, &c. Nevertheless, if this particular look of softness and fleshiness is desired, either the painting must be so thin or the tones so fused together that no brush strokes show, or a dry flat brush must afterwards be drawn lightly across when the painting is done, to destroy the downward brush strokes and substitute others going across, great care being taken to drag only from light to dark, and to wipe the brush carefully after each touch; and also never to go over the same place twice, or the paint will lose vitality. This is a method much employed by artists who delight in this particular quality.

但是，当需要坚固、坚韧的外观时，例如当肌肉处于剧烈运动时，或者在手腕上方或腿部脚后跟上方的肌腱中，或者通常在骨头露出表面的地方看到时，在所有这些中在这种情况下，画笔工作应该遵循表格。根本没有必要而且通常不建议表现出笔触作品，在这种情况下，这些原则就没有什么意义了。但是，当他们进行充满活力的绘画作品时，我认为通常会发现它会产生上述效果。

But when a strong, tough look is desired, such as one sees when a muscle is in violent action, or in the tendon above the wrist or above the heel in the leg, or generally where a bone comes to the surface, in all these cases the brush work should follow down the forms. It is not necessary and is often inadvisable for the brush work to show at all, in which case these principles will be of little account. But when in vigorously painted work they do, I think it will generally be found to create the effects named.

用白色粉笔或中国白、黑或红粉笔在调色纸上绘画是另一种形式的大规模绘画。对于旨在绘制的研究来说，这是一种快速而出色的方式。能够快速记录外观事实，使其成为窗帘研究方法中的佼佼者。灯光用白色绘制，需要较暗色调的地方可以通过调色纸来显示，当需要明亮的光线时，可以厚涂白色（粉笔或中国白），而需要较安静的光线时，可以涂薄薄的白色。因此，对于阴影，粉笔在黑暗处涂得较重，而在较浅的阴影处则涂得较少。自早期意大利人时代以来，这一直是绘制窗帘研究的最喜欢的方法（参见第 260 页插图）。

Drawing on toned paper with white chalk or Chinese white and black or red chalk is another form of mass drawing. And for studies it is intended to paint from, this is a quick and excellent manner. The rapidity with which the facts of an appearance can be noted makes it above all others the method for drapery studies. The lights are drawn with white, the toned paper being allowed to show through where a darker tone is needed, the white (either chalk or Chinese white) being put on thickly when a bright light is wanted and thinly where a quieter light is needed. So with the shadows, the chalk is put on heavily in the darks and less heavily in the lighter shadows. Since the days of the early Italians this has been a favourite method of drawing drapery studies (see illustrations, page 260).

一些艺术家用金色和银色的颜料来遮蔽他们的灯光。已故的爱德华·伯恩-琼斯爵士非常喜欢这种方法，并用这种方法完成了具有很多装饰魅力的绘画。其原理与用白粉笔绘图相同，半色调由纸张给出。

Some artists have shaded their lights with gold and silver paint. The late Sir Edward Burne-Jones was very fond of this, and drawings with much decorative charm have been done this way. The principle is the same as in drawing with white chalk, the half tone being given by the paper.

将灯光与阴影分开，让半色调纸始终作为它们之间的缓冲状态。在绘制灯光和阴影时获取尽可能多的信息；不要满足于涂抹效果。当您想要质量时，请使用白色粉笔的一侧，或者按照线条绘制章节中描述的原理绘制平行线（阴影线）。

Keep the lights separate from the shadows, let the half tone paper always come as a buffer state between them. Get as much information into the drawing of your lights and shadows as possible; don’t be satisfied with a smudge effect. Use the side of your white chalk when you want a mass, or work in parallel lines (hatching) on the principle described in the chapter on line drawing.

X

X

韵律

RHYTHM

所谓美术中的节奏主题是如此模糊，并且很少受到关注，以至于需要一些勇气，或者也许是鲁莽来攻击它。在提供以下在我自己有限的实践中偶然发现的零碎想法时，我希望它们仅因其价值而被接受，因为我不知道它们有任何适当的权威。但它们可以作为一种刺激，并提供一些学生可以自己学习该主题的思路。

THE subject of Rhythm in what are called the Fine Arts is so vague, and has received so little attention, that some courage, or perhaps foolhardiness, is needed to attack it. And in offering the following fragmentary ideas that have been stumbled on in my own limited practice, I want them to be accepted only for what they are worth, as I do not know of any proper authority for them. But they may serve as a stimulus, and offer some lines on which the student can pursue the subject for himself.

节奏这个词在这里用来表示线条、音调和颜色所拥有的力量，通过它们的顺序和排列来影响我们，有点像音乐中不同的音符和声音的组合。就像在音乐中一样，声音影响我们，与自然没有任何直接关系，而是直接诉诸我们自己的内心生活；因此，在绘画、雕塑和建筑中，除了与自然现象的表现相关的任何意义之外，还有一种直接吸引我们的音乐。可以说，这是一种线条、音调和色彩的抽象音乐。

The word rhythm is here used to signify the power possessed by lines, tones, and colours, by their ordering and arrangement, to affect us, somewhat as different notes and combinations of sound do in music. And just as in music, where sounds affect us without having any direct relation with nature, but appeal directly to our own inner life ; so in painting, sculpture, and architecture there is a music that appeals directly to us apart from any significance that may be associated with the representation of natural phenomena. There is, as it were, an abstract music of line, tone, and colour.

十九世纪绘画中的自然主义运动的危险在于，它将我们的注意力从艺术的这一基本事实转移到了对外观的有趣实现的沉思——由于与所画物体的联系，这种实现往往充满诗意的暗示。作为具体的事物，但并不总是作为艺术表达具有直接的意义；而艺术家的职责是将自然现象的形式、色彩和音调与这种抽象的音乐品质联系起来，即使在他作品中最高度实现的细节中，他也不应该失去这种联系。只有这样，事物的形式、色调、色彩在与节奏联系起来时，才获得充分的表现力，成为生动地传达艺术家情感的手段。

The danger of the naturalistic movement in painting in the nineteenth century has been that it has turned our attention away from this fundamental fact of art to the contemplation of interesting realisations of appearances—realisations often full of poetic suggestiveness due to associations connected with the objects painted as concrete things, but not always made directly significant as artistic expression; whereas it is the business of the artist to relate the form, colour, and tone of natural appearances to this abstract musical quality, with which he should never lose touch even in the most highly realised detail of his work. For only thus, when related to rhythm, do the form, tone, and colour of appearances obtain their full expressive power and become a means of vitally conveying the feeling of the artist.

一般来说，探究这种力量和节奏的起源是一个非常有趣的话题。现在，科学的最新进展倾向于表明，声音、热、光，可能还有电，甚至神经力，都只是不同的有节奏的能量形式，而且物质本身最终可能会分解为不同的有节奏的运动，它确实看起来像如果节奏被发现甚至包含生命本身的秘密。无论如何，它与生活密切相关。原始人很早就开始以某种形式的建筑、雕塑或绘画来表达感动他的更深层次的情感；发现建筑、雕塑和绘画的线条和色彩与他内心觉醒的情感生活之间存在某种对应关系。因此，回顾他们留给我们的作品遗迹，我们能够从凿石和彩绘墙壁上的表情来判断人们的本质。

Inquiry as to the origin of this power and of rhythm generally is a profoundly interesting subject; and now that recent advances in science tend to show that sound, heat, light, and possibly electricity and even nerve force are but different rhythmic forms of energy, and that matter itself may possibly be resolved eventually into different rhythmic motions, it does look as if rhythm may yet be found to contain even the secret of life itself. At any rate it is very intimately associated with life; and primitive man early began to give expression in some form of architecture, sculpture, or painting to the deeper feelings that were moving him ; found some correspondence between the lines and colours of architecture, sculpture, and painting and the emotional life that was awakening within him. Thus, looking back at the remains of their work that have come down to us, we are enabled to judge of the nature of the people from the expression we find in hewn stone and on painted walls.

一般而言，在原始艺术中，我们可以更清楚地看到线条和形式的直接情感意义。艺术似乎是从它最抽象的位置发展起来的，自然外观的真理和优雅一点一点地被添加到其中，直到这种自然主义的真理被添加到表达基础上的抽象意义能够存在的程度为止。失去力量。正如已经解释过的，此时学校正处于发展的顶峰。此后的作品通常表现出对自然主义真理的更多关注，这种真理总是很受欢迎，逐渐排除了主导早期作品的抽象线条和形式意义的支柱。当这些原始条件失去联系时，颓废就开始了。至少，对希腊和意大利过去两大艺术发展的研究似乎大致表明了这一理论。

It is in primitive art generally that we see more clearly the direct emotional significance of line and form. Art appears to have developed from its most abstract position, to which bit by bit have been added the truths and graces of natural appearance, until as much of this naturalistic truth has been added as the abstract significance at the base of the expression could stand without loss of power. At this point, as has already been explained, a school is at the height of its development. The work after this usually shows an increased concern with naturalistic truth, which is always very popular, to the gradual exclusion of the backbone of abstract line and form significance that dominated the earlier work. And when these primitive conditions are lost touch with, a decadence sets in. At least, this is roughly the theory to which a study of the two great art developments of the past, in Greece and Italy, would seem to point.

这个理论是我们最近看到的所有原始主义尝试的借口。这些新使徒说，由于过度的自然主义，艺术已经失去了与其原始基础的联系，我们必须找到一个新的原始基础，在此基础上建立新的艺术结构。该理论有其吸引力，但原始古希腊或早期意大利与现代原始之间存在这样的区别：早期人们虔诚地以他们知识范围内最自然、最美丽的形式来表达他们最初提出的抽象概念，并不断寻求发现来自大自然的新真理和恩典来丰富他们的工作；而现代艺术家，面对着世界各个时期的艺术瑰宝，却永远不可能处于这些头脑简单的人的地位。因此，未来艺术的发展不太可能与过去类似。同样的单纯无知的情况不可能再次发生。交流手段和多产的复制使得世界艺术不太可能再次像中世纪的希腊艺术那样消失一段时间。有趣的是，印象派观点（接受平面视网膜图像作为色彩感觉的模式）的理论提供了一个新的领域，可以从中选择新的艺术表达基础的材料，到目前为止，结果的证据还没有表现出任何可能严重威胁传统设计既定原则的东西。很难想象，在精神上，还有什么比这些新原始人的作品中不敬的无政府状态和对一切精致的蔑视更不同于真正的原始人的了。但该运动的许多作品无疑具有艺术生命力，其对设计和选材的坚持应该有助于扼杀几年前的“现实主义”和“复制自然”理论。

And this theory is the excuse for all the attempts at primitivism of which we have lately seen so much. Art having lost touch with its primitive base owing to the over-doses of naturalism it has had, we must, these new apostles say, find a new primitive base on which to build the new structure of art. The theory has its attractions, but there is this difference between the primitive archaic Greek or early Italian and the modern primitive: the early men reverently clothed the abstract idea they started with in the most natural and beautiful form within their knowledge, ever seeking to discover new truths and graces from nature to enrich their work; while the modern artist, with the art treasures of all periods of the world before him, can never be in the position of these simple-minded men. It is therefore unlikely that the future development of art will be on lines similar to that of the past. The same conditions of simple ignorance are never likely to occur again. Means of communication and prolific reproduction make it very unlikely that the art of the world will again be lost for a season, as was Greek art in the Middle Ages. Interesting intellectually as is the theory that the impressionist point of view (the accepting of the flat retina picture as a pattern of colour sensations) offers a new field from which to select material for a new basis of artistic expression, so far the evidence of results has not shown anything likely seriously to threaten the established principles of traditional design. And anything more different in spirit from the genuine primitive than the irreverent anarchy and flouting of all refinement in the work of some of these new primitives, it would be difficult to imagine. But much of the work of the movement has undoubted artistic vitality, and in its insistence on design and selection should do much to kill “ realism ” and the “ copying nature ” theory of a few years back.

尽管推动艺术家的情感和想法迟早会找到自己的表达方式，这是完全正确的，但在他的画作中，与线条、色调和色彩的安排有关的许多原则是很难不违反的。灾害。无论如何，其中一些知识将有助于艺术家获得经验，并可能使他省去一些不必要的摸索。

Although it is perfectly true that the feelings and ideas that impel the artist may sooner or later find their own expression, there are a great many principles connected with the arranging of lines, tones, and colours in his picture that it is difficult to transgress without calamity. At any rate the knowledge of some of them will aid the artist in gaining experience, and possibly save him some needless fumbling.

但千万不要认为规则性质的任何东西都会取代必须来自内部的最初的艺术冲动。这不是教学的问题，艺术训练只是为了完善其表现手段。

But don’t for one moment think that anything in the nature of rules is going to take the place of the initial artistic impulse which must come from within. This is not a matter for teaching, art training being only concerned with perfecting the means of its expression.

板 XXX

Plate XXX

对“罗莎琳和奥兰多 ”照片的研究 “他叫我们回来；我的骄傲随着我的命运而下降。”

A STUDY FOR A PICTURE OF “ ROSALIND AND ORLANDO ”

Ros. “ He calls us back ; my pride fell with my fortunes.”

建议仅从线条和色调的物质方面来处理主题，而不参考任何主题，其想法是试图找出线条和色调能够产生与视觉事物无关的表达品质。如何利用这些知识来表达艺术家的情感生活不是我们关心的，显然是个人自己决定的事情。

It is proposed to treat the subject from the material side of line and tone only, without any reference to subject matter, with the idea of trying to find out something about the expressive qualities line and tone are capable of yielding unassociated with visual things. What use can be made of any such knowledge to give expression to the emotional life of the artist is not our concern, and is obviously a matter for the individual to decide for himself.

每幅画的基础都有线条和质量的结构。它们可能不是很明显，也可能隐藏在最破烂的技术之下，但它们总是会在任何绘画的规划中被发现。有人可能会说线条只是物体的边界，而另一些人可能会说物体只是线条之间的空间。但无论你从哪个角度来看，都有一些类似于音乐的特殊情感品质，会在线条和线条安排以及音调或质量安排上影响我们。一张图片所具有的任何感动我们的力量，很大程度上取决于这个最初规划的节奏意义。正如已经指出的，这些品质对我们的影响与它们与自然事物可能有的任何联系无关：仅仅几何线条的排列就足以暗示它们。当然，当线条和色调的安排以及物体的情感相一致时，与所代表的物体相关的其他联想将在很大程度上增强印象。如果不是，与表征相关的联想可能会介入、模糊或完全破坏这种线条和音调音乐。也就是说，如果抽象中的线条和色调的安排表达了崇高，而它们所表现的对象支持了一些可笑的东西，比如驴叫，那么由如此可笑的外观​​引起的联想将超越与线条相关的联想。和音调的安排。但值得注意的是，这种情况在自然界中很少发生，事物所呈现的线条和色调安排的情感通常与物体本身的情感相协调。事实上，驴子休息时的线条效果比嘶叫时的线条效果要美妙得多。

There is at the basis of every picture a structure of lines and masses. They may not be very obvious, and may be hidden under the most broken of techniques, but they will always be found underlying the planning of any painting. Some may say that the lines are only the boundaries of the masses, and others that the masses are only the spaces between the lines. But whichever way you care to look at it, there are particular emotional qualities analogous to music that affect us in lines and line arrangements and also in tone or mass arrangements. And any power a picture may have to move us will be largely due to the rhythmic significance of this original planning. These qualities, as has already been stated, affect us quite apart from any association they may have with natural things: arrangements of mere geometrical lines are sufficient to suggest them. But of course other associations connected with the objects represented will largely augment the impression, when the line and tone arrangements and the sentiment of the object are in sympathy. And if they are not, it may happen that associations connected with the representation will cut in and obscure or entirely destroy this line and tone music. That is to say, if the line and tone arrangement in the abstract is expressive of the sublime, and the objects whose representation they support something ridiculous, say a donkey braying, the associations aroused by so ridiculous an appearance will override those connected with the line and tone arrangement. But it is remarkable how seldom this occurs in nature, the sentiment of the line and tone arrangements things present being usually in harmony with the sentiment of the object itself. As a matter of fact, the line effect of a donkey in repose is much more sublime than when he is braying.

有两种品质可以划分对该主题的考虑，可以从两种角度来处理该主题：统一性和多样性，这两种品质有些相互对立，就像色彩领域的和谐与对比一样。统一性涉及所有部分与概念统一性的关系，该概念应控制艺术作品的每个细节。所有更深刻的品质，更深刻的情感音符，都在主题的这一边。另一方面，多样性蕴藏着魅力、活力和风景如画的秘密，正是“抖动”，即较大部分之间的游戏，造就了生命和性格。没有多样性就没有生命。

There are two qualities that may be allowed to divide the consideration of this subject, two points of view from which the subject can be approached: Unity and Variety, qualities somewhat opposed to each other, as are harmony and contrast in the realm of colour. Unity is concerned with the relationship of all the parts to that oneness of conception that should control every detail of a work of art. All the more profound qualities, the deeper emotional notes, are on this side of the subject. On the other hand, variety holds the secrets of charm, vitality, and the picturesque, it is the “dither,” the play between the larger parts, that makes for life and character. Without variety there can be no life.

在任何完美统一的概念中，就像佛教的完美生命、涅槃或涅盘（字面意思是“熄灭”或“熄灭”，如即将熄灭的火），没有变化的余地，没有生命玩耍的空间；所有这些烦躁都停止了，取而代之的是一种无处不在的平静，如果你愿意的话，它是美丽的，但毫无生气。任何完美的概念都存在着这种死寂，这使它永远成为生活中无法实现的理想。那些像印度托钵僧或中世纪的隐士一样，把自己的一切都押在这种完美理想上的人，发现有必要以一切可能的方式压制生命，托钵僧常常长时间保持一动不动，并且一位中世纪的圣人竟然住在一根高柱的顶端，那里的生命和活动几乎是不可能的。

In any conception of a perfect unity, like the perfected life of the Buddhist, Nirvana or Nibbāna (literally “ dying out ” or “ extinction ” as of an expiring fire), there is no room for variety, for the play of life; all such fretfulness ceases, to be replaced by an all-pervading calm, beautiful, if you like, but lifeless. There is this deadness about any conception of perfection that will always make it an unattainable ideal in life. Those who, like the Indian fakir or the hermits of the Middle Ages, have staked their all on this ideal of perfection, have found it necessary to suppress life in every way possible, the fakirs often remaining motionless for long periods at a time, and one of the mediaeval saints going so far as to live on the top of a high column where life and movement were well-nigh impossible.

在艺术中​​也是如此；所有追求绝对完美的人通常都以死亡告终。希腊人比他们的许多模仿者更了解艺术中的这一至关重要的必要性。在他们最理想的作品中，总有一种赋予个性和生命的多样性。这个充满活力的人们不允许任何公式或比例准则或其他达到完美的机械装置完全抑制他们对生活和多样性的热爱。无论他们在理想的头脑和身材上多么接近完美的类型，他们从来没有走到杀死该类型中的个体的程度。我认为，正是缺乏这种微妙的区别，才是许多建立在所谓希腊理想基础上的艺术失败的原因。许多罗马雕塑，如果你不考虑他们的半身像，都说明了这一点。与希腊作品相比，它在造型上缺乏那种赋予生命力的微妙变化。从破碎的人形的最微小的碎片中就可以本能地感受到这种差异。区分希腊语和罗马语的碎片并不难，它们充满了一种无法描述的生命脉动，但人们本能地感受到了。我认为人们将会发现，这种活力取决于模型表面更多的赋予生命的多样性。在他们的建筑造型中，我们可以更容易地看出我们所说的差异。希腊造型的活泼和光彩使罗马作品显得沉重而沉闷。人们通常会发现，罗马人在其造型的截面中使用了圆的曲线，这是一种变化最少的曲线，正如稍后解释的那样，希腊人使用了圆锥曲线，这种曲线具有种类最多。

And in art it is the same; all those who have aimed at an absolute perfection have usually ended in a deadness. The Greeks knew better than many of their imitators this vital necessity in art. In their most ideal work there is always that variety that gives character and life. No formula or canon of proportions or other mechanical device for the attainment of perfection was allowed by this vital people entirely to subdue their love of life and variety. And however near they might go towards a perfect type in their ideal heads and figures, they never went so far as to kill the individual in the type. It is the lack of this subtle distinction that, I think, has been the cause of the failure of so much art founded on so-called Greek ideals. Much Roman sculpture, if you except their portrait busts, illustrates this. Compared with Greek work it lacks that subtle variety in the modelling that gives vitality. The difference can be felt instinctively in the merest fragment of a broken figure. It is not difficult to tell Greek from Roman fragments, they pulsate with a life that it is impossible to describe but that one instinctively feels. And this vitality depends, I think it will be found, on the greater amount of life-giving variety in the surfaces of the modelling. In their architectural mouldings, the difference of which we are speaking can be more easily traced. The vivacity and brilliancy of a Greek moulding makes a Roman work look heavy and dull. And it will generally be found that the Romans used the curve of the circle in the sections of their mouldings, a curve possessing the least amount of variety, as is explained later, where the Greeks used the lines of conic sections, curves possessed of the greatest amount of variety.

但是，如果没有这种赋予生命的多样性，统一就永远不可能存在，但多样性必须始终处于统一的道德控制之下，否则就会失控并变得奢侈。事实上，最完美的作品，就像我们在前一章中谈到的最完美的引擎一样，具有最少的多样性，因为引擎具有最少的“抖动”，这是与生活兼容的。如今，人们很少听到像时尚那样谈论完美身材的话题了。当然，通过从许多模型中选择最佳特征并从中构建复合图形来追求这一理想，是非常死气沉沉的工作。如果不想失去生命和个人兴趣，并且不想成为死气沉沉的抽象，那么最完美的作品就没有考虑到与常见类型的多样性。但目前的危险却恰恰相反。艺术家们陶醉于最奇怪的个人形式，而这种类型的想法却遭到所有人的蔑视。个人主义的无政府状态正在向我们袭来，无序多样性的活力比有序统一的平静之美更时尚。

But while unity must never exist without this life-giving variety, variety must always be under the moral control of unity, or it will get out of hand and become extravagant. In fact, the most perfect work, like the most perfect engine of which we spoke in a former chapter, has the least amount of variety, as the engine has the least amount of “ dither,” that is compatible with life. One does not hear so much talk in these days about a perfect type as was the fashion at one time; and certainly the pursuit of this ideal by a process of selecting the best features from many models and constructing a composite figure out of them, was productive of very dead and lifeless work. No account was taken of the variety from a common type necessary in the most perfect work, if life and individual interest are not to be lost, and the thing is not to become a dead abstraction. But the danger is rather the other way at the moment. Artists revel in the oddest of individual forms, and the type idea is flouted on all hands. An anarchy of individualism is upon us, and the vitality of disordered variety is more fashionable than the calm beauty of an ordered unity.

我认为，客观世界中我们所认为的与共同类型的过度变异是丑陋的，而美则在于类型的统一和符合。美既具有多样性，又具有统一性，从不极端，宁可偏于统一。

Excess of variations from a common type is what I think we recognise as ugliness in the objective world, whereas beauty is on the side of unity and conformity to type. Beauty possesses both variety and unity, and is never extreme, erring rather on the side of unity.

伯克在他关于“崇高与美丽”的文章中似乎使用了“美丽”这个词，而我们应该使用“漂亮”这个词，将其置于与崇高相反的一极，而我认为美总是包含一些崇高的元素。 ，而仅仅漂亮还没有。单纯的漂亮有点难以定位，它不介于我们的两个极端之间，没有什么性格或类型，多样性或统一性。如果没有这些强有力的伙伴，它也许就是魅力，因此总是软弱无力，是艺术消化能力弱的人最喜欢的饮食。

Burke in his essay on “The Sublime and the Beautiful” would seem to use the word beautiful where we should use the word pretty, placing it at the opposite pole from the sublime, whereas I think beauty always has some elements of the sublime in it, while the merely pretty has not. Mere prettiness is a little difficult to place, it does not come between either of our extremes, possessing little character or type, variety or unity. It is perhaps charm without either of these strengthening associates, and in consequence is always feeble, and the favourite diet of weak artistic digestions.

古埃及的雕塑是观念高度统一的一个例子，并且将多样性抑制到生命几乎不存在的地步。埃及人物的线条简单而长，表面光滑且不变，不允许有任何动作来改变姿势，在站立的人物中只允许将一只脚稍微放在另一只脚的前面；当手臂没有笔直地垂在身体两侧时，肘部会僵硬地弯曲成直角；他们的头直视前方。崇高的表达是完整的，这当然是目的。但是，缺少那些能够展现生活的戏剧性和多样性是多么冷酷和可怕。在参观了冰冷的埃及房间之后，在大英博物馆，走进埃尔金大理石房间，被希腊作品中脉动的贵族生活所温暖，真是一种解脱。

The sculpture of ancient Egypt is an instance of great unity in conception, and the suppression of variety to a point at which life scarcely exists. The lines of the Egyptian figures are simple and long, the surfaces smooth and unvaried, no action is allowed to give variety to the pose, the placing of one foot a little in front of the other being alone permitted in the standing figures ; the arms, when not hanging straight down the sides, are flexed stiffly at the elbow at right angles ; the heads stare straight before them. The expression of sublimity is complete, and this was, of course, what was aimed at. But how cold and terrible is the lack of that play and variety that alone show life. What a relief it is, at the British Museum, to go into the Elgin Marble room and be warmed by the noble life pulsating in the Greek work, after visiting the cold Egyptian rooms.

在我们所说的完美脸型中，令我们着迷的并不是形状的完美规律性和五官的平衡，也不是属于理想类型的东西，而是这种类型因个体而异的微妙变化。我们很佩服的头。一个完美的头部，如果存在的话，可能会激发我们的好奇心，但也会让我们感到冷漠。但它永远不可能存在于生活中；必须始终伴随着生活和表情的五官的最轻微的移动都会损害它。这些习惯性运动对特征本身形状的影响总是会将它们塑造成远离所谓完美类型的个体形状，无论大自然最初的意图是什么。

In what we call a perfect face it is not so much the perfect regularity of shape and balance in the features that charms us, not the things that belong to an ideal type, but rather the subtle variations from this type that are individual to the particular head we are admiring. A perfect type of head, if such could exist, might excite our wonder, but would leave us cold. But it can never exist in life; the slightest movement of the features, which must always accompany life and expression, will mar it. And the influence of these habitual movements on the form of the features themselves will invariably mould them into individual shapes away from the so-called perfect type, whatever may have been nature’s intention in the first instance.

如果我们像通常所做的那样，将这些来自常见类型的特征缺陷称为缺陷，那么似乎正是完美的缺陷让我们着迷和激动。没有这些所谓缺陷的完美是一种冰冷、死气沉沉的抽象，没有生命力：没有多样性的统一是没有生命的，无法触动我们。

If we call these variations from a common type in the features imperfections, as it is usual to do, it would seem to be the imperfections of perfection that charm and stir us ; and that perfection without these so-called imperfections is a cold, dead abstraction, devoid of life: that unity without variety is lifeless and incapable of touching us.

另一方面，没有统一性来统治的多样性是生命的一种狂暴的繁荣，缺乏所有的力量和约束，并在疯狂的过度中浪费自己。

On the other hand, variety without unity to govern it is a riotous exuberance of life, lacking all power and restraint and wasting itself in a madness of excess.

因此，在艺术中，必须在这两种相反的品质之间取得平衡。在良好的工作中，团结是主导品质，所有的多样性都是根据整体的某个大的理念来完成的，这一点永远不会被忽视，即使是在工作的最小细节中。良好的艺术风格被定义为“统一中的多样性”，与霍加斯将构图定义为“变化良好”的艺术类似。我不确定“和谐对比”是否是对好色彩的暗示性定义。

So that in art a balance has to be struck between these two opposing qualities. In good work unity is the dominating quality, all the variety being done in conformity to some large idea of the whole, which is never lost sight of, even in the smallest detail of the work. Good style in art has been defined as “ variety in unity,” and Hogarth’s definition of composition as the art of “ varying well ” is similar. And I am not sure that “ contrasts in harmony ” would not be a suggestive definition of good colour.

让我们首先考虑多样性和统一性，因为它们与线条画有关，然后是与大规模绘画有关。

Let us consider first variety and unity as they are related to line drawing, and afterwards to mass drawing.

第十一章

CHAPTER XI

节奏：多种旋律

RHYTHM : VARIETY OF LINE

线条节奏或音乐取决于线条的形状、它们之间的关系以及它们与面板边界的关系。在所有优秀的作品中，这种线条的音乐都与你的图片或绘画的主题（艺术意图）相协调。

LINE rhythm or music depends on the shape of your lines, their relation to each other and their relation to the boundaries of your panel. In all good work this music of line is in harmony with the subject (the artistic intention) of your picture or drawing.

变化最小的两条线是完美的直线和圆。一条完美的直线显然没有任何变化，而一条圆，由于始终以完全相同的比例弯曲，因此曲率没有变化，它是所有曲线中变化最少的一条。因此，这两条线是最乏味的两条线，除了增强其他线条的美感和多样性之外，很少在图片中使用。即便如此，也会引入一些微妙的变化，一些游戏，以缓解他们的秃头问题。但以这种方式使用，垂直线和水平线在矩形图片中具有最大的价值，通过它们与边界线的平行关系将构图与其边界线统一起来。此外，与曲线的丰富性和美丽形成对比，它们具有很大的价值，并且经常用于此目的。肖像中头部的一组造型，或者用来强调脸部或人物曲线的柱子线条，都是众所周知的例子。肖像画家总是在背景中寻找能够赋予他如此直线的物体。您可能还会注意到，为了复制而在研究中绘制的线条（所谓的将其方形）如何改善绘图的外观，与变化的曲线相比，使曲线的变化更加美丽缺乏直线。

The two lines with the least variation are a perfectly straight line and a circle. A perfectly straight line has obviously no variety at all, while a circle, by curving at exactly the same ratio all along, has no variation of curvature, it is of all curves the one with the least possible variety. These two lines are, therefore, two of the dullest, and are seldom used in pictures except to enhance the beauty and variety of others. And even then, subtle variations, some amount of play, is introduced to relieve their baldness. But used in this way, vertical and horizontal lines are of the utmost value in rectangular pictures, uniting the composition to its bounding lines by their parallel relationship with them. And further, as a contrast to the richness and beauty of curves they are of great value, and are constantly used for this purpose. The group of mouldings cutting against the head in a portrait, or the lines of a column used to accentuate the curved forms of a face or figure, are well-known instances; and the portrait painter is always on the look out for an object in his background that will give him such straight lines. You may notice, too, how the lines drawn across a study in order to copy it (squaring it out, as it is called) improve the look of a drawing, giving a greater beauty to the variety of the curves by contrast with the variety lacking straight lines.

在绘制自然物体（甚至是满月）时，应始终避免完美的圆形曲线，并且在任何类型的重要绘画中，应始终寻找某种变化。球体的建模也不应该出现在您的作品中，球体是所有曲面中最暗淡的。

The perfect curve of the circle should always be avoided in the drawing of natural objects (even a full moon), and in vital drawings of any sort some variety should always be looked for. Neither should the modelling of the sphere ever occur in your work, the dullest of all curved surfaces.

正圆的曲线虽然因缺乏变化而显得呆板，但也不乏美感，这是因为它的完美统一。它是所有曲线中静态统一最完美的例子。没有丝毫变化的兴奋，它会永远持续下去。毫无疑问，这就是为什么它很早就被选为永恒的象征的原因，当然也找不到比它更完美的象征了。

Although the curve of the perfect circle is dull from its lack of variety, it is not without beauty, and this is due to its perfect unity. It is of all curves the most perfect example of static unity. Without the excitement of the slightest variation it goes on and on for ever. This is, no doubt, the reason why it was early chosen as a symbol of Eternity, and certainly no more perfect symbol could be found.

从透视角度看，圆形呈现出椭圆形更美丽的曲线，一条变化多端的曲线；但由于它的四个四分之一是相似的，所以对称图形不可能有那么多相似之处。

The circle seen in perspective assumes the more beautiful curve of the ellipse, a curve having much variety; but as its four quarters are alike, not so much as a symmetrical figure can have.

也许最美丽的对称弯曲图形是来自厄瑞克提翁神庙的著名造型的所谓蛋，称为蛋和飞镖造型。在这里，我们在多样性和统一性之间取得了完美的平衡。曲率变化无穷大，任何一点的弯曲率都与其他点相同；也许是对称图形中所能获得的最大变化，它确实保持了几乎完美的连续性，因为它的曲率均匀地接近于圆。粗略地说，这就是脸部轮廓线，你可能会注意到，有多少擅长优雅的画家在他们的肖像画中坚持这一点。庚斯博罗和范戴克就是引人注目的例子。

Perhaps the most beautiful symmetrically curved figure of all is the so-called egg of the well-known moulding from such a temple as the Erechtheum, called the egg and dart moulding. Here we have a perfect balance between variety and unity. The curvature is varied to an infinite degree, at no point is its curving at the same ratio as at any other point; perhaps the maximum amount of variety that can be got in a symmetrical figure, preserving, as it does, its almost perfect continuity, for it approaches the circle in the even flow of its curvature. This is, roughly, the line of the contour of a face, and you may note how much painters who have excelled in grace have insisted on it in their portraits. Gainsborough and Vandyke are striking instances.

图七

Diagram VII

大英博物馆中的 ERECTHHEUM 女像柱之一的鸡蛋和飞镖造型

EGG AND DART MOULDING FROM ONE OF THE CARYATIDES FROM THE ERECHTHEUM IN THE BRITISH MUSEUM

轮廓的线条通常非常美丽，只是在这里，变化很容易破坏线条的统一或延伸。最美丽的轮廓通常是那些多样性服从于轮廓统一的轮廓。我想希腊人在去掉鼻子上方的凹陷，使额头的线条几乎没有中断地延伸到鼻尖时也感受到了这一点。线条的统一性增加，变化更加有趣。我想，认为这是常见的希腊类型的想法是不真实的，因为他们的肖像雕像没有表现出这一点。它确实在自然界中偶尔出现，并且在大多数西方民族中出现，但我认为没有太多证据表明它在任何地方都曾是一种常见类型。

The line of a profile is often one of great beauty, only here the variety is apt to overbalance the unity or run of the line. The most beautiful profiles are usually those in which variety is subordinated to the unity of the contour. I fancy the Greeks felt this when they did away with the hollow above the nose, making the line of the forehead run, with but little interruption, to the tip of the nose. The unity of line is increased, and the variety made more interesting. The idea that this was the common Greek type is, I should imagine, untrue, for their portrait statues do not show it. It does occur in nature at rare intervals, and in most Western nationalities, but I do not think there is much evidence of its ever having been a common type anywhere.

图八

Diagram VIII

展现对称的多样性

ILLUSTRATING VARIETY IN SYMMETRY

注意标记为 A 的空洞与标记为 B 的充实是如何相对的。

Note how the hollows marked A are opposed by fullnesses marked B.

在绘制或绘制轮廓时，如果您想表达其独特的美感，那么线条的延伸或统一就是可以感受到的。对于绘画来说，最好是在线条的正面画完所有色调和颜色之后，最后用画笔从背景侧进行绘制。由于背景通常变化不大，画笔的摆动在这一侧不会像在另一侧那样受到阻碍。我见过学生们担心分心，试图从脸部一侧绘制轮廓线，担心越过边缘会丢失图画。由于边缘从脸部一侧变得模糊，因此很容易使用充满背景颜色的画笔（通常与远处的颜色不同），并以一定的决心和信念来绘制它，注意边缘的所有变化，锐度出现的地方以及边缘丢失更多的地方，等等。

In drawing or painting a profile this run or unity of the line is the thing to feel, if you would express its particular beauty. This is best done in the case of a painting by finally drawing it with the brush from the background side, after having painted all the variety there is of tone and colour on the face side of the line. As the background usually varies little, the swing of the brush is not hampered on this side as it is on the other. I have seen students worried to distraction trying to paint the profile line from the face side, fearing to lose the drawing by going over the edge. With the edge blurred out from the face side, it is easy to come with a brush full of the colour the background is immediately against the face (a different colour usually from what it is further away), and draw it with some decision and conviction, care being taken to note all the variations on the edge, where the sharpnesses come and where the edge is more lost, &c.

四肢的轮廓展示了线条变化的另一种形式——可以称为“对称变化”。虽然粗略地说，四肢是对称的，但每一侧不仅本身有变化，而且通常也有不同的对立。假设一侧有凸曲线，则另一侧通常会出现凹形。在绘制四肢时一定要注意这一点，如果发现更多这种对称性的变化，通常会改善绘制不佳的部分。

The contours of the limbs illustrate another form of line variety—what may be called “ Variety in Symmetry.” While roughly speaking the limbs are symmetrical, each side not only has variety in itself, but there is usually variety of opposition. Supposing there is a convex curve on the one side, you will often have a concave form on the other. Always look out for this in drawing limbs, and it will often improve a poorly drawn part if more of this variation on symmetry is discovered.

你可能会说，整个身体是对称的，但即使在这里，自然条件也造成了多样性。除了当兵时，身体很少保持对称的姿势。最轻微的动作就会产生我们所说的多样性。随附的草图将表明其含义。

The whole body, you may say, is symmetrical, but even here natural conditions make for variety. The body is seldom, except in soldiering, held in a symmetrical position. The slightest action produces the variety we are speaking about. The accompanying sketches will indicate what is meant.

图九

Diagram IX

展现对称的多样性

ILLUSTRATING VARIETY IN SYMMETRY

请注意标记为 A 的空洞如何与标记为 B 的丰满相对。

Note how the hollows marked A are opposed by the fullnesses marked B.

当然，如果学生有任何天生的能力，他会本能地寻找所有这些变化，从而为他的绘画赋予生命力。像这样的书并不是为他在充满灵感的情况下写成的。但也许有一天，事情“不会发生”，这时了解在哪里寻找工作中可能的弱点就会很有用。

Of course the student, if he has any natural ability, instinctively looks out for all these variations that give the play of life to his drawing. It is not for him in the full vigour of inspiration that books such as this are written. But there may come a time when things “won’t come,” and it is then that it is useful to know where to look for possible weak spots in your work.

与在某些点上变化且有压力的线条相比，等粗细的线条是一种非常死板且缺乏表现力的东西。如果你观察自然界中我们用线条来表达的任何边界，你会发现有些点比其他点更突出、更吸引注意力。在线条图中表达这一点的唯一方法是使线条变暗和锐化。在轮廓几乎消失的其他点，线条可能会变得柔和且模糊。

A line of equal thickness is a very dead and inexpressive thing compared with one varied and stressed at certain points. If you observe any of the boundaries in nature we use a line to express, you will notice some points are accentuated, attract the attention, more than others. The only means you have to express this in a line drawing is by darkening and sharpening the line. At other points, where the contour is almost lost, the line can be soft and blurred.

一个优秀的绘图员在他的线条作品中所表现出的无限多样性是不可能写出来的。必须对它们进行第一手研究。但你的绘画的活力很大程度上取决于线条的粗细和质量。

It is impossible to write of the infinite qualities of variety that a fine draughtsman will get into his line work; they must be studied at first hand. But on this play of thickness and quality of line much of the vitality of your drawing will depend.

十二

XII

节奏：线条的统一

RHYTHM: UNITY OF LINE

线条的统一性比多样性具有更大的品质，并且由于它需要更大的精神掌握，因此更罕见。它考虑绘图和设计中更重要的事情，包括部分与整体的关系。对其进行适当的考虑将把我们带入整个作曲领域，这个主题需要比本书中所能给予的更多的考虑。

UNITY of line is a bigger quality than variety, and as it requires a larger mental grasp, is more rarely met with. The bigger things in drawing and design come under its consideration, including, as it does, the relation of the parts to the whole. Its proper consideration would take us into the whole field of Composition, a subject needing far more consideration than can be given to it in this book.

几乎所有的构图都可以追踪到有节奏的线条流动。不一定是实际线路的流动（尽管这些经常存在）；它们可能只是连接或聚集某些部分的想象线，并使它们与整体的节奏概念相一致。或者，形式中只有一定的压力和流动，表明线条的运动。但这些流经面板的线条运动至关重要；它们就像交响乐的旋律和主题，贯穿并连接着整个作品。

In almost all compositions a rhythmic flow of lines can be traced. Not necessarily a flow of actual lines (although these often exist); they may be only imaginary lines linking up or massing certain parts, and bringing them into conformity with the rhythmic conception of the whole. Or again, only a certain stress and flow in the forms, suggesting line movements. But these line movements flowing through your panel are of the utmost importance; they are like the melodies and subjects of a musical symphony, weaving through and linking up the whole composition.

通常，画面某一部分的轮廓线会被构图另一部分的某个物体的轮廓再次拾取，尽管没有实际的线条将它们连接起来，但它们之间却建立了一个统一体。（参见第 166 和 168 页的图表，说明了波提切利和保罗·委罗内塞画作的线条构图）。这种想象中的跨空间轮廓的追踪应该始终受到关注和追寻，因为没有什么比这种远程部分的关系更能将画面统一起来。这些线条的流动将取决于主题的性质：根据主题的要求，它们会更加亲切和轻松，或者更加有力和强大。

Often, the line of a contour at one part of a picture is picked up again by the contour of some object at another part of the composition, and although no actual line connects them, a unity is thus set up between them. (See diagrams, pages 166 and 168, illustrating line compositions of pictures by Botticelli and Paolo Veronese). This imaginary following through of contours across spaces in a composition should always be looked out for and sought after, as nothing serves to unite a picture like this relationship of remote parts. The flow of these lines will depend on the nature of the subject: they will be more gracious and easy, or more vigorous and powerful, according to the demands of your subject.

这种轮廓的连接同样适用于单个图形甚至头部或手的绘制，学生应该始终注意这种统一的质量。这是一种对于赋予构图统一性非常重要的品质。

This linking up of the contours applies equally well to the drawing of a single figure or even a head or hand, and the student should always be on the look out for this uniting quality. It is a quality of great importance in giving unity to a composition.

当画面中的多组线条彼此平行出现时，它们会强调该线条可能包含的特定质量，一种持续的效果，就像风琴上的持续和弦，其效果比同样的和弦奏出断奏。这种持续的品质对于稳定和团结你的工作有着极好的影响。

When groups of lines in a picture occur parallel to each other they produce an accentuation of the particular quality the line may contain, a sort of sustained effect, like a sustained chord on an organ, the effect of which is much bigger than that of the same chord struck staccato. This sustained quality has a wonderful influence in steadying and uniting your work.

这种平行性只能成功地应用于最简单的线条，例如直线或简单的曲线；除非在形状复杂的装饰图案中使用，否则不建议使用。布莱克非常喜欢平行线所带来的持续效果，并在他的作品中经常使用曲线和直线的重复。请注意，在《约伯记》系列第 146 页的图版 I 中，背景中羊背的平行性以及人物线条的平行向上流动中使用了这种持续性的品质。在第二版中，您可以看到它被用在上方宝座两侧人物的曲线中，以及左角带有卷轴的两个天使中。在这两个人物后面，你再次可以通过重复来强调羊背上平静的线条。同样的事情也可以在第四版中看到，羊的背线和坐着的人物的腿平行，给人一种和平的感觉，与讲述约伯儿子的毁灭的使者的暴力形成鲜明对比。布莱克的所有作品都很好地说明了平行对特定线条的音乐的强调。他是关于线条节奏主题的信息宝库。将板 I 与板 XXI 进行比较；请注意在这两种情况下情绪质量如何依赖于线条向上流动的平行性。在第一版中，他甚至将垂直的感觉带入了前面的羊身上，引入了垂直阴影的小带来贯穿跪着的人物所形成的垂直线条。在最后一个板块中，“所以主赐福约伯的后期比开头更多”，请注意，平行对照的完整性如何更加强调了效果，表达了更大的兴奋和激动。请注意，在图版 X 中，“公正、正直的人被嘲笑为蔑视”，这种强调的力量如何被用来增加约伯的三个朋友对约伯的蔑视。

This parallelism can only be used successfully with the simplest lines, such as a straight line or a simple curve; it is never advisable except in decorative patterns to be used with complicated shapes. Blake is very fond of the sustained effect parallelism gives, and uses the repetition of curved and straight lines very often in his compositions. Note in Plate I of the Job series, page 146, the use made of this sustaining quality in the parallelism of the sheep’s backs in the background and the parallel upward flow of the lines of the figures. In Plate II you see it used in the curved lines of the figures on either side of the throne above, and in the two angels with the scroll at the left-hand corner. Behind these two figures you again have its use accentuating by repetition the peaceful line of the backs of the sheep. The same thing can be seen in Plate IV, where the parallelism of the back lines of the sheep and the legs of the seated figures gives a look of peace contrasting with the violence of the messenger come to tell of the destruction of Job’s sons. The emphasis that parallelism gives to the music of particular lines is well illustrated in all Blake’s work. He is a mine of information on the subject of line rhythm. Compare Plate I with Plate XXI ; note how the emotional quality is dependent in both cases on the parallelism of the upward flow of the lines. How also in Plate I he has carried the vertical feeling even into the sheep in the front, introducing little bands of vertical shading to carry through the vertical lines made by the kneeling figures. And in the last plate, “So the Lord blessed the latter end of Job more than the beginning,” note how the greater completeness with which the parallelism has been carried out has given a much greater emphasis to the effect, expressing a greater exaltation and peace than in Plate I. Notice in Plate X, where “ The just, upright man is laughed to scorn,” how this power of emphasis is used to increase the look of scorn hurled at Job by the pointing fingers of his three friends.

在弯曲形式中运用这一原理时，在弯腰的人物中重复背部线条是布莱克最喜欢的设计。在图版 II 和 XVIII 中可以找到这样的例子。（更多实例可以参考《布莱克的工作》中的图版 VII、VIII、XIII 和 XVIII。）在最后一个实例中，有趣的是他如何平衡构图，其中三个人物跪在右侧，并且只有左边一个。通过失去右边第三个人物的轮廓，并通过头发的轮廓从左边的单个人物中获得双线，并且通过更强烈地着色这个单个人物，他设法保持完美的平衡。约伯的头也偏向左侧，而他则稍稍站在左侧，进一步平衡了右侧的三个人物。（这在此处复制的插图中表现得不如原始印刷品那么好。）

Of the use of this principle in curved forms, the repetition of the line of the back in stooping figures is a favourite device with Blake. There will be found instances of this in Plates II and XVIII. (Further instances will be found on reference to Plates VII, VIII, XIII, and XVIII, in Blake’s Job.) In the last instance it is interesting to note how he has balanced the composition, which has three figures kneeling on the right and only one on the left. By losing the outline of the third figure on the right and getting a double line out of the single figure on the left by means of the outline of the mass of hair, and also by shading this single figure more strongly, he has contrived to keep a perfect balance. The head of Job is also turned to the left, while he stands slightly on that side, still further balancing the three figures on the right. (This does not show so well in the illustration here reproduced as in the original print.)

（第四版，布莱克的工作）

(Plate IV, Blake’s Job)

而我独自逃脱只是为了告诉你。

And I only am escaped alone to tell thee.

（图版 X，布莱克的工作）

(Plate X, Blake’s Job)

刚正不阿的人被人嘲笑。

The just upright man is laughed to scorn.

（第一版，布莱克的工作）

(Plate I, Blake’s Job)

约伯就这样不断地

Thus did Job continually

（第 XXI 版，布莱克的工作）

(Plate XXI, Blake’s Job)

所以主祝福约伯的后期比

开始更多

So the Lord blessed the latter end of Job more than

the beginning

板 XXXI

Plate XXXI

（第二版，布莱克的工作）

(Plate II, Blake’s Job)

当全能者与我同在时，当

我的孩子们在我身边时。

When the Almighty was yet with me, when

my children were about me.

（第十一版，布莱克的工作）

(Plate XI, blake’s Job)

你用我床上的梦来吓唬

我，用异象来吓唬我。

With dreams upon my bed Thou scarest

me, and affrightest me with visions.

横向印刷是为了表明恐怖的外观不仅仅取决于所表现的事物，而是属于构图的节奏和模式。

Printed sideways up in order to show that the look of horror is not solely dependent on the things represented, but belongs to the rhythm, the pattern of the composition.

（第十八版，工作）

(Plate XVIII, Job)

我的仆人约伯将为你祈祷。

And my servant Job shall pray for you.

板 XXXII

Plate XXXII

（第十四版，布莱克的工作）

(Plate XIV, Blake’s Job)

当晨星一起歌唱时，

所有神的儿子都欢呼雀跃。

When the morning stars sang together,

and all the sons of God shouted for joy.

上面对直线和圆说了一些粗鲁的话，因为它们缺乏多样性，而且确实，在优秀的艺术绘画中从来没有找到数学上的直线或数学上的完美圆。因为没有多样性就没有魅力或生命。但这些线条具有其他品质，由于它们具有最大程度的统一性，这使它们在构图中具有强大的力量。当崇高的表达或任何更深刻、更深刻的情感明显时，它们经常被发现。

Some rude things were said above about the straight line and the circle, on account of their lack of variety, and it is true that a mathematically straight line, or a mathematically perfect circle, are never found in good artistic drawing. For without variety is no charm or life. But these lines possess other qualities, due to their maximum amount of unity, that give them great power in a composition; and where the expression of sublimity or any of the deeper and more profound sentiments are in evidence, they are often to be found.

希腊神庙中的一排排圆柱，哥特式大教堂内部的垂直线条群，都是它们所拥有的崇高和力量的实例。在希腊神庙中，柱子和台阶的线条的微妙弯曲，以及丰富的变化，赋予了活力——我们在前一章中将这种品质称为“抖动”——的必要作用。雕塑，而对于哥特式大教堂来说，则通过对石块的更粗糙切割和石头颜色的变化来实现。但一般来说，在哥特式建筑中，这种特殊的“犹豫”品质或所有部分的生命游戏是显而易见的，平衡是在多样性而不是统一方面。个体工人被赋予了很大的自由，可以发挥他的个人想象力。柱头、窗户尖头和装饰品很少重复，而是根据工匠的品味而变化。很少尝试非常高的光洁度，凿痕经常留在石制品中。这一切给这座精美的哥特式建筑带来了温暖和生机，让古典建筑相形见绌。在哥特式建筑上建造新部分的自由程度再次证明了这样一个事实：它们的主要魅力并不在于整体统一的概念。

The rows of columns in a Greek temple, the clusters of vertical lines in a Gothic cathedral interior, are instances of the sublimity and power they possess. The necessary play that makes for vitality—the “ dither ” as we called this quality in a former chapter—is given in the case of the Greek temple by the subtle curving of the lines of columns and steps, and by the rich variety of the sculpture, and in the case of the Gothic cathedral by a rougher cutting of the stone blocks and the variety in the colour of the stone. But generally speaking, in Gothic architecture this particular quality of “ dither ” or the play of life in all the parts is conspicuous, the balance being on the side of variety rather than unity. The individual workman was given a large amount of freedom and allowed to exercise his personal fancy. The capitals of columns, the cusping of windows, and the ornaments were seldom repeated, but varied according to the taste of the craftsman. Very high finish was seldom attempted, the marks of the chisel often being left showing in the stonework. All this gave a warmth and exuberance of life to a fine Gothic building that makes a classical building look cold by comparison. The freedom with which new parts were built on to a Gothic building is another proof of the fact that it is not in the conception of the unity of the whole that their chief charm consists.

另一方面，一座精美的古典建筑是一个大概念的结果，每个部分都必须严格遵守。以后几年对此进行任何补充通常都是灾难性的。始终追求高品质，不允许任何工具痕迹或工匠的任何个性破坏整体的完美对称性。天气可能比较冷，但崇高是多么完美！这里的平衡在于统一而不是多样性。

On the other hand, a fine classic building is the result of one large conception to which every part has rigorously to conform. Any addition to this in after years is usually disastrous. A high finish is always attempted, no tool marks nor any individuality of the craftsman is allowed to mar the perfect symmetry of the whole. It may be colder, but how perfect in sublimity! The balance here is on the side of unity rather than variety.

诺曼建筑的力量和崇高归功于拱门中圆形曲线的使用，与直线的结合以及装饰品中方形形式的使用——线条种类最少。

The strength and sublimity of Norman architecture is due to the use of circular curves in the arches, combined with straight lines and the use of square forms in the ornaments—lines possessed of least variety.

所有让人联想到力量外观的物体都会在其构图中发现直线。强壮男人的力量感来自于方形的轮廓线，与胖子的圆形形状截然不同。每个人都知道方形额头赋予头部精神力量的外观，以及方形下巴表达的体力外观。岩石景观或山丘中的力量外观也是出于同样的原因。

All objects with which one associates the look of strength will be found to have straight lines in their composition. The look of strength in a strong man is due to the square lines of the contours, so different from the rounded forms of a fat man. And everyone knows the look of mental power a square forehead gives to a head and the look of physical power expressed by a square jaw. The look of power in a rocky landscape or range of hills is due to the same cause.

水平和垂直是两条非常重要的线，水平与平静和沉思相关，垂直与海拔感相关。如上所述，它们与矩形图片中平行的构图边的关系对于将主题与其边界线结合起来并赋予其紧密的外观非常重要，从而向对象传达一种极大的稳定感。图片。

The horizontal and the vertical are two very important lines, the horizontal being associated with calm and contemplation and the vertical with a feeling of elevation. As was said above, their relation to the sides of the composition to which they are parallel in rectangular pictures is of great importance in uniting the subject to its bounding lines and giving it a well-knit look, conveying a feeling of great stability to a picture.

海上风平浪静的日子里，长长的地平线，或者沙漠平原的长长的地平线，是多么令人印象深刻和令人沉思啊！缺乏多样性，伴随着所有的能量和活力，给人一种平静和休息的感觉，一种其他线条无法传达的无限感。微风在静止的水面上划出的水平线，以及日落时天空经常呈现的水平线，都出于同样的和谐原因影响着我们。

How impressive and suggestive of contemplation is the long line of the horizon on a calm day at sea, or the long horizon line of a desert plain! The lack of variety, with all the energy and vitality that accompany it, gives one a sense of peace and rest, a touch of infinity that no other lines can convey. The horizontal lines which the breeze makes on still water, and which the sky often assumes at sunset, affect us from the same harmonic cause.

松树和柏树是大自然中与垂直相关的崇高的典型例子。即使是一座矗立在遥远城镇上空的工厂烟囱，尽管令人不快，但仍然令人印象深刻，更不用说我们一些哥特式大教堂的美丽尖顶了。康斯特布尔在维多利亚和阿尔伯特博物馆的照片中可以看出康斯特布尔如何很好地利用了索尔兹伯里大教堂尖顶的垂直崇高感，他将其与榆树拱门的欢快窗饰进行了对比。哥特式大教堂通常很大程度上依赖于这种垂直的线条感来给人留下深刻的印象。

The pine and the cypress are typical instances of the sublime associated with the vertical in nature. Even a factory chimney rising above a distant town, in spite of its unpleasant associations, is impressive, not to speak of the beautiful spires of some of our Gothic cathedrals, pointing upwards. How well Constable has used the vertical sublimity of the spire of Salisbury Cathedral can be seen in his picture, at the Victoria and Albert Museum, where he has contrasted it with the gay tracery of an arch of elm trees. Gothic cathedrals generally depend much on this vertical feeling of line for their impressiveness.

当罗马人竖立一根孤独的柱子作为伟大事迹或人物的纪念碑时，他们知道垂直的表现力。这种崇高感可能是对在该国不同地区遇到的在高处修建塔楼和方尖碑的热潮的一种无意识的解释，通常被称为某人的“愚蠢”。

The Romans knew the expressive power of the vertical when they set up a lonely column as a monument to some great deed or person. And a sense of this sublimity may be an unconscious explanation of the craze for putting towers and obelisks on high places that one comes across in different parts of the country, usually called someone’s “ folly.”

在附图中，第152页和第153页的A、B、C和D、E、F是与水平线和垂直线相关的影响的示例。A只不过是在矩形形状上绘制的六条直线，但我认为它们传达了平静的夜晚海上日落所带来的沉思和平静的感觉。这完全归功于直线所具有的表现力，以及它们能够唤起人们内心的情感。B中引入了更多的事件和变化，虽然有一定的失落，但还不足以破坏印象。暗示人物的线条是垂直的，因此与水平线一样具有平静的感觉。太阳的圆盘具有相同的静态质量，是最缺乏变化的曲线。云朵的线条给人带来了一些兴奋感，但它们仅足以暗示即将离去的日子的消逝能量。

In the accompanying diagrams, A, B, C and D, E, F, pages 152 and 153, are examples of the influence to be associated with horizontal and vertical lines. A is nothing but six straight lines drawn across a rectangular shape, and yet I think they convey something of the contemplative and peaceful sense given by a sunset over the sea on a calm evening. And this is entirely due to the expressive power straight lines possess, and the feelings they have the power to call up in the mind. In B a little more incident and variety has been introduced, and although there is a certain loss of calm, it is not yet enough to destroy the impression. The line suggesting a figure is vertical and so plays up to the same calm feeling as the horizontal lines. The circular disc of the sun has the same static quality, being the curve most devoid of variety. It is the lines of the clouds that give some excitement, but they are only enough to suggest the dying energy of departing day.

现在让我们把图形稍微弯曲一点，就像在C处一样，破坏它的垂直方向，部分遮盖太阳的圆盘，从而破坏整个圆，这一切立即改变，我们平静的夜晚变成了一个平静的夜晚。有风的时候，我们的线条现在表现出一些能量。

Now let us but bend the figure in a slight curve, as at C, and destroy its vertical direction, partly cover the disc of the sun so as to destroy the complete circle, and all this is immediately altered, our calm evening has become a windy one, our lines now being expressive of some energy.

板 XXXIII

Plate XXXIII

照片曼塞尔公司

Photo Mansell & Co.

FÊTE CHAMPÊTRE。乔尔乔尼 (卢浮宫)

FÊTE CHAMPÊTRE. GIORGIONI (LOUVRE)

注意长笛女性坐像中引入的直线，以配合丰富的形式

Note the straight line introdiced in seated female figure with flute to conteract rich forms

以垂直线为例。设 D 代表广阔平原上的一排松树。这样的线条传达出一种亢奋和无限平静的感觉。现在，如果引入一些树叶，如在 E 处，给出一条摆动线，并且如果这条摆动线由天空中相应的树叶来延续，我们就引入了一些生命和多样性。如果我们完全破坏垂直的感觉并弯曲我们的树木，就像在F处一样，结果将是大量能量的表达，以及在完全平静的地方引入的元素的压力和斗争的感觉。

To take a similar instance with vertical lines. Let D represent a row of pine trees in a wide plain. Such lines convey a sense of exaltation and infinite calm. Now if some foliage is introduced, as at E, giving a swinging line, and if this swinging line is carried on by a corresponding one in the sky, we have introduced some life and variety. If we entirely destroy the vertical feeling and bend our trees, as at F, the expression of much energy will be the result, and a feeling of the stress and struggle of the elements introduced where there was perfect calm.

直线的超然与繁杂的变化赋予了它们平静、无限的表情。它们对于更丰富的作品形式的稳定影响的价值是非常巨大的。威尼斯人知道这一点，并在他们喜欢的更丰富的形式中充分利用了直线。

It is the aloofness of straight lines from all the fuss and flurry of variety that gives them this calm, infinite expression. And their value as a steadying influence among the more exuberant forms of a composition is very great. The Venetians knew this and made great use of straight lines among the richer forms they so delighted in.

有趣的是，乔尔乔内在他的卢浮宫“香槟节”（参见第 150 页插图）中如何不遗余力地采用直线来稳定画面并与曲线形成对比。他不想在风景中出现这种情况，所以大胆地使坐着的女性人物的轮廓符合一条严格的直线，而她手中的笛子进一步强调了这一点。如果不是画面中的这条直线和其他直线，以及窗帘绘制的一定方度，背景中树木的丰富性，肉体和窗帘的完整形式就太多了，效果就变成了即使不是很甜蜜，也很病态。出于同样的原因，凡·戴克也常常在他的肖像画中不遗余力地在头部附近引入一条硬直线，通常没有任何明显的原因就突然结束，硬线中的深色背景，并显示出遥远的距离。远处的风景，以获得轻量来强调直线。

It is interesting to note how Giorgione in his “ Fête Champêtre ” of the Louvre (see illustration, page 150), went out of his way to get a straight line to steady his picture and contrast with the curves. Not wanting it in the landscape, he has boldly made the contour of the seated female figure conform to a rigid straight line, accentuated still further by the flute in her hand. If it were not for this and other straight lines in the picture, and a certain squareness of drawing in the draperies, the richness of the trees in the background, the full forms of the flesh and drapery would be too much, and the effect become sickly, if not positively sweet. Van Dyck, also, used to go out of his way to introduce a hard straight line near the head in his portraits for the same reason, often ending abruptly, without any apparent reason, a dark background in a hard line, and showing a distant landscape beyond in order to get a light mass to accentuate the straight line.

图X

Diagram X

说明，A，水平线的平静节奏影响，例如海上日落可能产生的影响；B、引入输送一些能量的管线；C，显示线条进一步弯曲对静止的破坏。平静的夜晚变成了刮风的夜晚

ILLUSTRATING, A, CALM RHYTHMIC INFLUENCE OF HORIZONTAL LINES SUCH AS A SUNSET OVER THE SEA MIGHT GIVE; B, INTRODUCTION OF LINES CONVEYING SOME ENERGY ; C, SHOWING DESTRUCTION OF REPOSE BY FURTHER CURVING OF LINES. THE CALM EVENING HAS BECOME A WINDY ONE

图十一

Diagram XI

说明，D，垂直线的节奏影响；E、引进一些品种；F、垂直方向的破坏以及随之而来的静止状态的丧失

ILLUSTRATING, D, RHYTHMIC INFLUENCE OF VERTICAL LINES; E, THE INTRODUCTION OF SOME VARIETY; F, THE DESTRUCTION OF THE VERTICAL AND CONSEQUENT Loss OF REPOSE

背面再现了国家美术馆中提香的《酒神与阿里阿德涅》丰富的造型和摆动的线条，如果没有天空中的水平线和天空中的垂直线的稳定影响，那就太粗糙了。树干。

The rich modelling and swinging lines of the “ Bacchus and Ariadne ” of Titian in the National Gallery, reproduced on the opposite page, would be too gross, were it not for the steadying influence of the horizontal lines in the sky and the vertical lines of the tree-trunks.

在谈到这幅画时，提到我想到的一个想法可能并不合适，即为什么带铙钹的女性形象在狂欢者队伍中走得有点咄咄逼人。我不会尝试对这篇文章进行任何分析，本系列的另一本书对此进行了巧妙的探讨。但这个人物站立的腿在构图中如此突出，一直让我感到困惑。我知道提香不会在没有充分理由的情况下给予如此强烈的立场。它当然无助于构图的运行，尽管它可能有助于稳定构图，而且它本身并不是一件特别美丽的事情，因为这个位置更适合男人的腿而不是女人的腿。但如果你用手指盖住它，然后看没有它的构图，我想它如此突出的原因就变得更明显了。提香显然在巴克斯的前腿上遇到了一些麻烦，他也可能遇到了麻烦。他希望表现出他从车上走下来，轻轻踏在空中的样子，就像诸神可以做的那样。但脚后的汽车轮子让人很难回避他正在踩着它的想法，这就是普通凡人下车的方式。我认为，领先的酒神酒神那条咄咄逼人的站立腿，虽然看起来很重，但其职责是让酒神酒神前面的腿显得轻盈，相比之下——它确实做到了。在仔细观察这幅画时，你会发现他在正确之前已经将酒神巴克斯的脚放在了几个位置。可以清楚地看到另一只脚在当前脚上方大约几英寸左右。这条腿的总体垂直方向也与它的轻盈和运动的外观相反，倾向于给人一种静止、静态的外观。我一开始不明白为什么他不把脚移到更右边，这样可以增强人物的轻盈感并增加其运动。但你会发现，这会将右侧人物的全部重量转移到阿里阿德涅的单个人物身上，并破坏平衡；正如你用手指盖住这条腿并想象它向右摆动所看到的那样。因此，提香必须保持酒神巴克斯前腿的垂直位置，利用铙钹女士咄咄逼人的站立腿来强调其弹性和轻盈。

While speaking of this picture, it might not be out of place to mention an idea that occurred to me as to the reason for the somewhat aggressive standing leg of the female figure with the cymbals leading the procession of revellers. I will not attempt any analysis of this composition, which is ably gone into in another book of this series. But the standing leg of this figure, given such prominence in the composition, has always rather puzzled me. I knew Titian would not have given it that vigorous stand without a good reason. It certainly does not help the run of the composition, although it may be useful in steadying it, and it is not a particularly beautiful thing in itself, as the position is one better suited to a man’s leg than to a woman’s. But if you cover it over with your finger and look at the composition without it, I think the reason of its prominence becomes plainer. Titian evidently had some trouble, as well he might have, with the forward leg of the Bacchus. He wished to give the look of his stepping from the car lightly treading the air, as gods may be permitted to do. But the wheel of the car that comes behind the foot made it difficult to evade the idea that he was stepping on it, which would be the way an ordinary mortal would alight. I think the duty of the aggressive standing leg of the leading Bacchante, with its great look of weight, is to give a look of lightness to this forward leg of Bacchus, by contrast—which it certainly does. On examining the picture closely in a good light, you will see that he has had the foot of Bacchus in several positions before he got it right. Another foot can distinctly be seen about a couple of inches or so above the present one. The general vertical direction of this leg is also against its look of lightness and motion, tending rather to give it a stationary, static look. I could not at first see why he did not bring the foot further to the right, which would have aided the lightness of the figure and increased its movement. But you will observe that this would have hurled the whole weight of the mass of figures on the right, forward on to the single figure of Ariadne, and upset the balance; as you can see by covering this leg with your finger and imagining it swinging to the right. So that Titian, having to retain the vertical position for Bacchus’ forward leg, used the aggressive standing leg of the cymbal lady to accentuate its spring and lightness.

板 XXXIV

Plate XXXIV

照片 汉夫施塔格

Photo Hanfstaegl

巴克斯和阿里阿德涅。提香（国家美术馆）

BACCHUS AND ARIADNE. TITIAN (NATIONAL GALLERY)

图形中的笔直感或任何事物中的水平面的感觉都会产生与垂直或水平线相同的效果，而没有任何实际的线可见。布莱克的《晨星一起歌唱》就是垂直和弦的一个例子，尽管图中没有真正的垂直线。但他们都有一种充满活力的直率，给他们带来平和和崇高的感觉，再加上贯穿他们的火焰般的线条，给他们带来欢乐的能量。（参见第 147 页。）

A feeling of straight-up-ness in a figure or of the horizontal plane in anything will produce the same effect as a vertical or horizontal line without any actual line being visible. Blake’s “ Morning Stars Singing Together ” is an instance of the vertical chord, although there is no actual upright line in the figures. But they all have a vigorous straight-up-ness that gives them the feeling of peace and elevation coupled with a flame-like line running through them that gives them their joyous energy. (See page 147.)

垂直与水平的结合产生了你能做出的最强烈、最引人注目的和弦之一，并且在大多数表达戏剧力量的图片和图画中都会发现它存在。十字架就是这方面的典型例子。它是一种能够立即吸引注意力的线条组合，并且可能比任何其他可以设计的简单组合对心灵产生更强大的影响（完全不考虑它所象征的任何东西）。一个垂直的人物，甚至一根柱子，在海岸上切割地平线的长水平线，其效果是多么强大。或者是路边的一个电报站，在日落时可以在山丘的长水平线上看到。紧缩的眉毛的垂直线条所赋予的力量感也是出于同样的原因。眉毛的垂直皱纹与鼻子的线条相连，与眉毛的水平线交叉形成连续的垂直线（参见插图中的图A）。同样的原因，当眉毛形成一条水平线与前额的垂直线形成对比时，轮廓就会显得有力（图B）。每个人都知道方额头给人一种力量感：并不是说方额头给人一种脑容量更大的感觉，因为如果额头呈曲线突出，就像C处那样，就会失去力量感，尽管显然有更多的大脑空间。

The combination of the vertical with the horizontal produces one of the strongest and most arresting chords that you can make, and it will be found to exist in most pictures and drawings where there is the expression of dramatic power. The cross is the typical example of this. It is a combination of lines that instantly rivets the attention, and has probably a more powerful effect upon the mind —quite apart from anything symbolised by it—than any other simple combinations that could have been devised. How powerful is the effect of a vertical figure, or even a post, seen cutting the long horizontal line of the horizon on the sea-shore. Or a telegraph post by the side of the road, seen against the long horizontal line of a hill at sunset. The look of power given by the vertical lines of a contracted brow is due to the same cause. The vertical furrows of the brow continuing the lines of the nose, make a continuous vertical which the horizontal lines of the brow cross (see Fig. A in the illustration). The same cause gives the profile a powerful look when the eyebrows make a horizontal line contrasting with the vertical line of the forehead (Fig. B). Everybody knows the look of power associated with a square brow: it is not that the square forehead gives the look of a larger brain capacity, for if the forehead protrudes in a curved line, as at C, the look of power is lost, although there is obviously more room for brains.

图十二

Diagram XII

这种直角的力量在瓦茨的《爱与死亡》中得到了很好的体现，这里转载，第 158 页。在作者看来，在这部高贵的作品中，这是 19 世纪艺术产生的最崇高的表达方式之一，不可抗拒的力量和缓慢前进的死亡形象的威严很大程度上是由于通过姿势感受到的直角。由于没有将其纳入轮廓，瓦茨大胆地通过遮盖较远的手臂并坚持使用伸出的手臂和手的浅色上边缘来引入它，同时稍微失去了头部的轮廓。还要注意窗帘中对方形形状的坚持给出了这个数字的力量外观。台阶的硬方形形式进一步强调了这种表达，特别是第一步的强烈水平线，因此坚持与人物的垂直支架成直角；还有上面门口的直立线条。与死亡这个形象的可怕的崇高相比，爱的小人物的表情是多么感人，徒劳地试图阻止不可避免的前进。这种表达是由于悬挂人物动作的曲线，以及其造型的柔和起伏的形式。而死亡的形象全是方形的线条和平坦的平面，整个悬挂在一个戏剧性的直角上；这个人物的轮廓和造型都微妙而丰满，融为一体，整体悬挂在一条丰富的完整曲线上，从前进人物的站立脚开始。死亡的表达是由石阶的坚硬、方形的形状和纹理支撑和强调的，而爱的表达是由簇状玫瑰的圆形形状和柔软的纹理支撑和强调。基于这种线条和形式的对比，因此与这幅画所起源的深刻情感相呼应，这幅构图的表现力将被发现依赖。

This power of the right angle is well exemplified in Watts’ “Love and Death,” here reproduced, page 158. In this noble composition, in the writer’s opinion one of the most sublime expressions produced by nineteenth-century art, the irresistible power and majesty of the slowly advancing figure of Death is largely due to the right angle felt through the pose. Not getting it in the contour, Watts has boldly introduced it by means of shading the farther arm and insisting on the light upper edge of the outstretched arm and hand, while losing somewhat the outline of the head beyond. Note also the look of power the insistence on square forms in the drapery gives this figure. The expression is still further emphasised by the hard square forms of the steps, and particularly by the strong horizontal line of the first step, so insisted on, at right angles to the vertical stand of the figure ; and also the upright lines of the doorway above. In contrast with the awful sublimity of this figure of Death, how touching is the expression of the little figure of Love, trying vainly to stop the inevitable advance. And this expression is due to the curved lines on which the action of the figure is hung, and the soft undulating forms of its modelling. Whereas the figure of Death is all square lines and flat crisp planes, the whole hanging on a dramatic right angle; this figure is all subtle fullness both of contour and modelling melting one into the other, the whole hung upon a rich full curve starting at the standing foot of the advancing figure. And whereas the expression of Death is supported and emphasised by the hard, square forms and texture of the stone steps, the expression of Love is supported and emphasised by the rounded forms and soft texture of the clustering roses. On this contrast of line and form, so in sympathy with the profound sentiment to which this picture owes its origin, the expressive power of this composition will be found to depend.

图十三

Diagram XIII

说明这幅画的节奏力量所依赖的一些线条

ILLUSTRATING SOME OF THE LINES ON WHICH THE

RHYTHMIC POWER OF THIS PICTURE DEPENDS

板 XXXV

Plate XXXV

照片霍利尔

Photo Hollyer

爱与死。作者：GF 瓦茨

LOVE AND DEATH. BY G. F. WATTS

高贵的构图，建立在死亡形象中直角的力量之上，与爱形象中的曲线形成鲜明对比。（见对面的图）。

A noble composition, founded on the power of the right angle in the figure of Death, in contrast with the curved lines in the figure of Love. (See diagram opposite).

在这张图片复制品所附的图表中，我试图以图表的形式指出其解剖结构的一些主要线条。

In the diagram accompanying the reproduction of this picture I have tried to indicate in diagrammatical form some of the chief lines of its anatomy.

在这些构图解剖图中，所选择的线条在原作中并不总是非常明显，而是被自然外观的真相所公正地打破。但是，在每幅优秀画作的表达背后都可以发现一种依赖于抽象线条的某种排列的情感意义，就像所有伟大的艺术家一样小心地隐藏起来。尽管对于这些图表的丑陋也许有必要道歉，但所有解剖图都存在这种丑陋。如果学生描画它们，并将其描画到原作的复制品上，它们将帮助他看出画面的节奏力取决于排列中的哪些东西。

In these diagrams of the anatomy of compositions the lines selected are not always very obvious in the originals and are justly much broken into by truths of natural appearance. But an emotional significance depending on some arrangement of abstract lines is to be found underlying the expression in every good picture, carefully hidden as it is by all great artists. And although some apology is perhaps necessary for the ugliness of these diagrams, it is an ugliness that attends all anatomy drawings. If the student will trace them and put his tracing over the reproductions of the originals, they will help him to see on what things in the arrangement the rhythmic force of the picture depends.

其他与所选的线条一样重要的线条可能会被忽视，但所选的线条足以显示它们的一般特征。

Other lines, as important as those selected, may have been overlooked, but the ones chosen will suffice to show the general character of them all.

构图中有一个条件是在开始之前就设定好的，那就是面板或画布的形状。这通常是一个矩形，并且您设计的所有线条都必须考虑与该形状的关系。正如我们所见，垂直线和水平线与矩形图片的边界平行，总是正确的，并且立即建立起一种关系。

There is one condition in a composition, that is laid down before you begin, and that is the shape of your panel or canvas. This is usually a rectangular form, and all the lines of your design will have to be considered in relation to this shape. Vertical and horizontal lines being parallel to the boundaries of rectangular pictures, are always right and immediately set up a relationship, as we have seen.

直角的吸引力存在于矩形图片的每个角上，即垂直边与水平底相交的地方，这提出了一个困难，因为你不希望观众的注意力被吸引到角上，而这种戏剧性的线条组合总是吸引眼球。摆脱这种情况的一种最喜欢的方法是用一些黑色物质填充它们，或者用旋转的线条并将眼睛带过它们，这样注意力就会不断地转移到图片的中心。因为线条具有引导注意力的力量，眼睛本能地跟着线条移动，这种力量在引导观众关注主要兴趣方面发挥着最大的作用。

The arresting power of the right angle exists at each corner of a rectangular picture, where the vertical sides meet the horizontal base, and this presents a difficulty, because you do not wish the spectator’s attention drawn to the corners, and this dramatic combination of lines always attracts the eye. A favourite way of getting rid of this is to fill them with some dark mass, or with lines swinging round and carrying the eye past them, so that the attention is continually swung to the centre of the picture. For lines have a power of directing the attention, the eye instinctively running with them, and this power is of the greatest service in directing the spectator to the principal interest.

正是这种角的麻烦使得填充正方形的问题变得如此严格。在普通的矩形面板中，中间有一定量的自由空间，在安排好这个空间之前，舒适地填充角落的困难不会出现。但在正方形中，一旦你离开中心，你就处于一个或另一个角上，而这些角的填充比其他形状的情况更能解决这个问题。对于学生来说，给自己一个正方形来填充，以便理解这个困难并学会克服它，这是一个很好的练习。

It is this trouble with the corners that makes the problem of filling a square so exacting. In an ordinary rectangular panel you have a certain amount of free space in the middle, and the difficulty of filling the corners comfortably does not present itself until this space is arranged for. But in a square, the moment you leave the centre you are in one or other of the corners, and the filling of them governs the problem much more than in the case of other shapes. It is a good exercise for students to give themselves a square to fill, in order to understand this difficulty and learn to overcome it.

与矩形形状有直接关系的其他线是对角线。许多不垂直或水平悬挂的构图都是建立在这条线上的，因此与边界形状有关。

Other lines that possess a direct relation to a rectangular shape are the diagonals. Many compositions that do not hang on a vertical or horizontal basis are built on this line, and are thus related to the bounding shape.

当提到垂直线、水平线或对角线时，不得假定在所有情况下都表示裸线。石松、石柏没有纯粹的垂直线，田野也没有纯粹的水平线，但它们的线条的整体摆动是垂直或水平的。同样地，当人们谈到悬挂在对角线上的构图时，构图中很少存在裸露的对角线，但一般的摆动是与一条或另一条对角线和谐地穿过面板。当这种情况发生时，设计与其边界之间就建立了统一。委拉斯开兹的《布雷达的投降》是垂直、水平和对角线统一画面的一个很好的例子，这里转载。请注意左侧长矛中的垂直弦，在马腿和接收钥匙的人物前腿中延续，以及由远处城市的黑暗物质形成的水平线，由枪身上携带的枪延续戴宽边软帽的人物肩膀位于主要群体后面。委拉斯开兹不遗余力地得到了这条线，因为在这个位置拿着枪，笔直地指向后面那个人的头部，这几乎不可能是时尚。天空和远处的风景中也出现了水平线，其中一条直接穿过长矛群。对角线的使用是这幅画的线条中另一个值得注意的事情。如果你把一把尺子放在马头后面右侧旗帜的斜线上，你会发现它与从右上角到左下角画的对角线完全平行。另一条几乎平行于该对角线的线是属于提供钥匙的人物的剑的线，其感觉延续在该人物的手和钥匙上。还可以注意到，前面的马的右后腿与另一条对角线平行，它的下侧实际上在对角线上，因此与图片的边界线相关。所有这些线条，虽然没有太明显的技巧，却赋予了那种结构严密、庄重的外观，与主题的本质如此和谐。

When vertical, horizontal, or diagonal lines are referred to, it must not be assumed that one means in all cases naked lines. There is no pure vertical line in a stone pine or cypress tree, nor pure horizontal line in a stretch of country, but the whole swing of their lines is vertical or horizontal. And in the same way, when one speaks of a composition being hung upon a diagonal, it is seldom that a naked diagonal line exists in the composition, but the general swing is across the panel in harmony with one or other diagonal. And when this is so, there is a unity set up between the design and its boundaries. A good instance of vertical, horizontal, and diagonal lines to unite a picture is Velazquez’s “The Surrender of Breda,” here reproduced. Note the vertical chord in the spears on the left, continued in the leg of the horse and front leg of the figure receiving the key, and the horizontal line made by the dark mass of distant city, to be continued by the gun carried over the shoulder of the figure with the slouch hat behind the principal group. Velazquez has gone out of his way to get this line, as it could hardly have been the fashion to carry a gun in this position, pointing straight at the head of the man behind. Horizontal lines also occur in the sky and distant landscape, one running right through the group of spears. The use of the diagonal is another remarkable thing in the lines of this picture. If you place a ruler on the slanting line of the flag behind the horse’s head to the right, you find it is exactly parallel to a diagonal drawn from the top right-hand corner to the lower left-hand corner. Another line practically parallel to this diagonal is the line of the sword belonging to the figure offering the key, the feeling of which is continued in the hand and key of this same figure. It may be noted also that the back right leg of the horse in the front is parallel to the other diagonal, the under side of it being actually on the diagonal and thus brought into relation with the bounding lines of the picture. And all these lines, without the artifice being too apparent, give that well-knit, dignified look so in harmony with the nature of the subject.

板 XXXVI

Plate XXXVI

照片安德森

Photo Anderson

布雷达的投降。委拉斯开兹 (普拉多)

THE SURRENDER OF BREDA. VELAZQUEZ (PRADO)

曲线没有直线的节操。他们的目的与其说是为了表达崇高，不如说是为了吸引我们享受感官的美丽愉悦。他们掌握着魅力的秘密。但如果没有直线和平面的稳定力量，曲线就会失控并失去力量。在建筑中，洛可可风格就是这种过度的一个例子。虽然所有对旺盛的生命和活力、魅力和优雅的表达都依赖于曲线的效果，但在它们最精致和美丽的表达中，它们错误地选择了方形而不是圆形。当不受控制地使用接近圆和蜗壳的曲线时，不受任何直线的稳定影响的限制，效果是严重的。最精细的曲线是充满克制的，过度的曲率是好的绘画中要避免的事情。当我们说某人“正直的人”或“相当正直”并希望传达道德价值的印象时，我们就承认了这种直线的完整性。

Curved lines have not the moral integrity of straight lines. Theirs is not so much to minister to the expression of the sublime as to woo us to the beauteous joys of the senses. They hold the secrets of charm. But without the steadying power of straight lines and flatnesses, curves get out of hand and lose their power. In architecture the rococo style is an example of this excess. While all expressions of exuberant life and energy, of charm and grace depend on curved lines for their effect, yet in their most refined and beautiful expression they err on the side of the square forms rather than the circle. When the uncontrolled use of curves approaching the circle and volute are indulged in, unrestrained by the steadying influence of any straight lines, the effect is gross. The finest curves are full of restraint, and excessive curvature is a thing to be avoided in good drawing. We recognise this integrity of straight lines when we say anybody is “an upright man” or is “quite straight,” wishing to convey the impression of moral worth.

鲁本斯是一位画家，他以无拘无束地表达对生活的热情和深深地汲取生活的热情而自豪，尽管他的许多作品都光彩夺目，尽管这一切都很精彩，但在他后来的作品中过度使用曲线和圆形形式却剥夺了他的作品的美感。它失去了它的大部分力量，并因其粗俗而冒犯了我们。他最好的作品充满了方形的绘画和平面。

Rubens was a painter who gloried in the unrestrained expression of the zeal to live and drink deeply of life, and glorious as much of his work is, and wonderful as it all is, the excessive use of curves and rounded forms in his later work robs it of much of its power and offends us by its grossness. His best work is full of squarer drawing and planes.

始终注意曲线形式的直线度和建模中的平面。

Always be on the look out for straightnesses in curved forms and for planes in your modelling.

让我们再次采用最简单的构图形式，一片大海和天空，并在以前的直线处应用曲线。您将看到第 164 页 A 处的线条虽然稍微弯曲，但如何表达一些能量，我们之前图表中的直线表示静止，然后在 B 和 C 中，线条的曲率增加如何增加所表达的能量，直到D中，线条以有力的漩涡扫过周围，表达了一场完美的飓风。最后，大致是特纳画廊中特纳的《汉尼拔穿越阿尔卑斯山》的节奏基础。

Let us take our simplest form of composition again, a stretch of sea and sky, and apply curved lines where we formerly had straight lines. You will see how the lines at A, page 164, although but slightly curved, express some energy, where the straight lines of our former diagram expressed repose, and then how in B and C the increasing curvature of the lines increases the energy expressed, until in D, where the lines sweep round in one vigorous swirl, a perfect hurricane is expressed. This last, is roughly the rhythmic basis of Turner’s “Hannibal Crossing the Alps ” in the Turner Gallery.

构图的连接线可能采取的最简单、最优雅的形式之一是连续的流动，一条线以优雅的顺序从另一条线演变而来，从而将视线从一个部分引导到另一个部分，并将注意力转移到主要兴趣上。

One of the simplest and most graceful forms the tying lines of a composition may take is a continuous flow, one line evolving out of another in graceful sequence, thus leading the eye on from one part to another and carrying the attention to the principal interests.

这种安排的两个很好的例子是波提切利的《维纳斯的诞生》和保罗·委罗内塞的《掠夺欧罗巴》，复制于第 166 和 168 页。威尼斯的画并不像佛罗伦萨的画那么依赖于其线条基础的清晰度。 。有趣的是，欧罗巴的线条比金星图片的线条更接近圆的曲线。如果像波提切利在他的蛋彩画中所使用的那样对后来的油画作品进行同样的原始处理，那么曲线的稳健性就会令人反感，并且对于简单的公式来说太粗糙了；尽管像这幅华丽的图画一样，被如此丰富的自然真理所覆盖和隐藏，但我们却被如此丰富的财富所吸引和娱乐，以至于没有时间去思考其底部线条排列的纯粹性。丰富而丰满的线条排列，虽然相当过度，显得超然，却与威尼斯人所热衷的奢华奢华相一致。但对于纯粹的线条美来说，波提切利画作中对曲线的更大克制是无限令人满意的，尽管在这里我们没有像自然外观一样丰富和丰富的东西来吸引我们的注意力，而且技术的天真简单使更多的暴露线条的结构，因此对画面的效果起着更大的作用。

Two good instances of this arrangement are Botticelli’s “Birth of Venus” and the “Rape of Europa,” by Paolo Veronese, reproduced on pages 166 and 168. The Venetian picture does not depend so much on the clarity of its line basis as the Florentine. And it is interesting to note how much nearer to the curves of the circle the lines of Europa approach than do those of the Venus picture. Were the same primitive treatment applied to the later work painted in the oil medium as has been used by Botticelli in his tempera picture, the robustness of the curves would have offended and been too gross for the simple formula; whereas overlaid and hidden under such a rich abundance of natural truth as it is in this gorgeous picture, we are too much distracted and entertained by such wealth to have time to dwell on the purity of the line arrangement at its base. And the rich fullness of line arrangement, although rather excessive, seen detached, is in keeping with the sumptuous luxuriance the Venetian loved so well to express. But for pure line beauty the greater restraint of the curves in Botticelli’s picture is infinitely more satisfying, though here we have not anything like the same wealth and richness of natural appearance to engage our attention, and the innocent simplicity of the technique leaves much more exposed the structure of lines, which in consequence play a greater part in the effect of the picture.

图十四(1)

Diagram XIV (1)

展现曲线的力量

ILLUSTRATING POWER OF CURVED

图十四(2)

Diagram XIV (2)

输送能量的线路

LINES TO CONVEY ENERGY

图十五

Diagram XV

说明这幅画的节奏统一所依赖的线条流动

ILLUSTRATING THE FLOW OF LINES ON WHICH THE RHYTHMIC UNITY OF THIS PICTURE DEPENDS

板二十七

Plate XXVII

照片安德森

Photo Anderson

维纳斯的诞生。波提切利（佛罗伦萨）

THE BIRTH OF VENUS. BOTTICELLI (FLORENCE)

波提切利精致线条节奏的美丽典范。（分析见对页图。）

A beauthiful example of Botticelli’s refined line rhythm. (See diagram on opposite page for analysis.)

在这两种情况下，请注意线条通往主要主题的方式，以及通过水平、垂直和其他直线引入的稳定能力。委罗内塞满足于在天空中保持某种水平的感觉，最终形成地平线和海边的直线。他还引入了两座金字塔，在树木之间画出直线，其中最明显的金字塔将人们的视线直接引向主头。

In both cases note the way the lines lead up to the principal subject, and the steadying power introduced by means of horizontal, vertical, and other straight lines. Veronese has contented himself with keeping a certain horizontal feeling in the sky, culminating in the straight lines of the horizon and of the sea edge. And he has also introduced two pyramids, giving straight lines in among the trees, the most pronounced of which leads the eye straight on to the principal head.

波提切利首先看到地平线的长线在右下角的地面上回响。然后，他坚定地反对将你带出右侧画面的线条流，将树木笔直、直立，并坚持它们的笔直。

Botticelli has first the long line of the horizon echoed in the ground at the right-hand lower corner. And then he has made a determined stand against the flow of lines carrying you out of the picture on the right, by putting straight, upright trees and insisting upon their straightness.

构图基础上的线条可能采取的另一种节奏形式是火焰般的线条流。曲线交汇、分开、再次交汇，甚至在一个连续的运动中交叉。使用这种品质的一个引人注目的例子是著名的西班牙画家埃尔·格列柯的作品，这里展示了他的两幅作品（第 172 页）。无论有学术头脑的人如何评价他的绘画的不正确性，对于他的作品非凡的节奏活力，不会有两种意见。他的线条向上流动，光团像火焰一样闪烁，让人感到兴奋，就像观看燃烧的火焰一样。其中有一些令人振奋和刺激的东西，尽管他有时使用过度，很容易缺乏休息。这里复制了他的两个作品的例子，并说明了他在构图的线条和质量中使用这种运动形式。他没有让眼睛休息，而是在他的所有物体和边缘上保持同样的闪烁运动。这位杰出画家的非凡之处在于，这种躁动、奔放的构图方式使他的作品类似于后来的洛可可作品，但他所做的一切却充满了只有原始画家才能比拟的火热的认真和真诚。十四、十五世纪的错误情绪，与后来学派的虚假情绪截然不同。

Another rhythmic form the lines at the basis of a composition may take is a flame-like flow of lines; curved lines meeting and parting and meeting again, or even crossing in one continual movement onwards. A striking instance of the use of this quality is the work of the remarkable Spanish painter usually called El Greco, two of whose works are here shown (page 172). Whatever may be said by the academically minded as to the incorrectness of his drawing, there can be no two opinions as to the remarkable rhythmic vitality of his work. The upward flow of his lines and the flame-like flicker of his light masses thrills one in much the same way as watching a flaring fire. There is something exalting and stimulating in it, although, used to excess as he sometimes uses it, it is apt to suffer from lack of repose. Two examples of his pictures are reproduced here, and illustrate his use of this form of movement in the lines and masses of his compositions. Nowhere does he let the eye rest, but keeps the same flickering movement going throughout all his masses and edges. The extraordinary thing about this remarkable painter is that while this restless, unrestrained form of composition makes his work akin to the rococo work of a later period, there is a fiery earnestness and sincerity in all he does, only to be matched among the primitive painters of the fourteenth and fifteenth centuries, and very different from the false sentiment of the later school.

图十六

Diagram XVI

说明这幅画的节奏统一性所依赖的一些主线

ILLUSTRATING SOME OF THE MAIN LINES ON WHICH THE RHYTHMIC UNITY OF THIS PICTUE DEPENDS

板 XXXVIII

Plate XXXVIII

照片安德森

Photo Anderson

欧罗巴的掠夺。作者：保罗·委罗内塞（威尼斯）

THE RAPE OF EUROPA. BY PAOLO VERONESE (VENISE)

丰富的形式和丰富的色彩组成。

（线节奏分析见对页图。）

A composition of rich full forms ans rich full colour. (See diagram on opposite page

for analysis of line rhythm.)

布莱克也喜欢这种火焰线，但通常将其与更多的直线组合使用，超出了精力充沛的西班牙人允许自己的范围。《约伯记》系列中的图版 III 和 V 是他使用这种形式的好例子。在这两种情况下，我们都可以看到他将其与直线的稳定影响相结合，这有助于在处理艺术中最暴力的主题时保持必要的平衡和休息。

Blake was also fond of this flame line, but usually used it in combination with more straight lines than the energetic Spaniard allowed himself. Plates III and V in the Job series are good examples of his use of this form. In both cases it will be seen that he uses it in combination with the steadying influence of straight lines, which help to keep the balance and repose necessary in the treatment of even the most violent subjects in art.

线条流动中的持续中断，以及一条线与另一条线以一种棱角分明、锯齿状的方式相互刺耳的震动，产生了一种恐怖和恐怖的感觉。叉状闪电就是一个自然的例子。布莱克的第 XI 号盘子，第 11 页。此处转载的 147 也是一个很好的例子。我把它放在一边，这样你就可以看到恐怖的表情不仅存在于主题中，而且属于画面中特定的线条音乐。色调的强烈对比进一步增强了线条中强烈对比的效果：到处都是强光与强暗的对比。色调的强烈对比会产生与线条的强烈对比相同的恐怖外观。战斗画面在优秀的时候通常会充满线条和色调的冲突，而带有一丝恐怖的惊心动魄的戏剧效果通常也是建立在同样的原则之上的。在国家美术馆的保罗·乌切洛 (Paolo Uccello) 的照片（复制于第 170 页）中，可以看到这种效果的温和版本。这位艺术家对战争的盛况更感兴趣，并渴望展示他新获得的透视知识，而不是任何非常可怕的东西。这里有线条的对比，但仅限于较小的部分，没有明暗的对比，明暗对比还没有发明。然而，从附图中可以看出，在这张图片的设计中，线条的鲜明对比是多么一致。请注意，在地面上精心排列的缩短的长矛和人物的无意识幽默，消失到了最近发现的消失点。

A continual interruption in the flow of lines, and a harsh jarring of one against another in an angular, jagged fashion, produces a feeling of terror and horror. A streak of fork lightning is a natural example of this. The plate of Blake’s No. XI, p. 147, reproduced here, is also a good example. I have had it put sideways on so that you may see that the look of horror is not only in the subject but belongs to the particular music of line in the picture. The effect of the harsh contrasts in the lines is further added to by the harsh contrasts of tone: everywhere hard lights are brought up against hard darks. Harsh contrasts of tone produce much the same look of terror as harsh contrasts of line. Battle pictures are usually, when good, full of these clashes of line and tone, and thrilling dramatic effects in which a touch of horror enters are usually founded on the same principle. In the picture by Paolo Uccello in the National Gallery, reproduced on page 170, a milder edition of this effect is seen. The artist has been more interested in the pageantry of war and a desire to show off his newly-acquired knowledge of perspective, than anything very terrible. The contrasts of line are here but confined to the smaller parts, and there are no contrasts of light and shade, chiaroscuro not being yet invented. However, it will be seen by the accompanying diagram how consistently the harsh contrasts of line were carried out in the planning of this picture. Notice the unconscious humour of the foreshortened spears and figure carefully arranged on the ground to vanish to the recently discovered vanishing point.

图十七

Diagram XVII

展现与这个主题的武侠本质相呼应的线条冲突

SHOWING THE CLASH OF LINES IN SYMPATHY WITH THE MARTIAL NATURE OF

THIS SUBJECT

板 XXXIX

Plate XXXIX

莫雷利照片

Photo Morelli

圣之战 艾吉迪奥。保罗·乌切洛（国家美术馆）

BATTLE OF ST. EGIDIO. PAOLO UCCELLO (NATIONAL GALLERY)

说明构图中不和谐线条的效果。（参见对页图。）

Illustrating the effect of jarring lines in composition. (See diagram on opposite page.)

从公共中心以平滑曲线辐射的线条是用于在图形设计中提供统一性的另一种形式。它们的辐射点不一定在画面内，而且通常在画面外。但如果他们产生了就会见面的感觉给了他们一种团结，使他们的关系变得和谐。

Lines radiating in smooth curves from a common centre are another form employed to give unity in pictorial design. The point from which they radiate need not necessarily be within the picture, and is often considerably outside it. But the feeling that they would meet if produced gives them a unity that brings them into harmonious relationship.

关于辐射线还有另一点，那就是它们在原本不相关的线之间建立关系的能力。让我们尝试解释一下这一点。在第 174 页的 A 组中，一些线条是随机绘制的，其目的是使它们彼此之间的相关性尽可能小。在B中，通过引入与他们同情的辐射线，他们已经建立了某种关系。线 1-2 被选为主线，并在其周围绘制了各种辐射线。现在，通过绘制7-8，我们已经建立了线3-4、5-6和1-2之间的关系，因为这条线与所有这些线一起辐射。第 9-10 行强调了与 1-2 的这种关系。其他人也附和着同样的话。正是这种线条在构图中的呼应将不同部分统一起来，使整体统一起来。

There is also another point about radiating lines, and that is their power of setting up a relationship between lines otherwise unrelated. Let us try and explain this. In Panel A, page 174, some lines are drawn at random, with the idea of their being as little related to each other as possible. In B, by the introduction of radiating lines in sympathy with them, they have been brought into some sort of relationship. The line 1—2 has been selected as the dominating line, and an assortment of radiating ones drawn about it. Now, by drawing 7—8, we have set up a relationship between lines 3—4, 5—6, and 1—2, for this line radiates with all of them. Line 9—10 accentuates this relationship with 1—2. The others echo the same thing. It is this echoing of lines through a composition that unites the different parts and gives unity to the whole.

以接近直角的角度交叉的线条总是刺耳且有些不和谐，当您想要将注意力集中到某个特定位置，但在其他时候要避免或掩盖时，这很有用。在我们最初的涂鸦中，交叉线之间存在丑陋的冲突，在 C 处，我们引入了一个质量来掩盖这一点，以及线 3-4 与 1-2 上方的辐射线相交时所形成的角度。用 11 处的小质量来保持平衡，你就有了一个构图的基础，图 C，虽然是基于一组随机绘制的不和谐的线条，但在排列上一点也不令人不快，但通过同情的方式达到和谐。辐射。

The crossing of lines at angles approaching the right angle is always harsh and somewhat discordant, useful when you want to draw attention dramatically to a particular spot, but to be avoided or covered up at other times. There is an ugly clash of crossing lines in our original scribble, and at C we have introduced a mass to cover this up, and also the angles made by line 3—4 as it crosses the radiating lines above 1—2. With a small mass at 11 to make the balance right, you have a basis for a composition, Diagram C, not at all unpleasing in arrangement, although based on a group of discordant lines drawn at random, but brought into harmony by means of sympathetic radiation.

XL 号板

Plate XL

照片安德森

Photo Anderson

基督的升天。作者：多米尼克·西奥托普利·

埃尔·格列柯

THE ASCENSION OF CHRIST. BY Dominico THEOTOCÓPULI

CALLED EL GRECO

注意光团的火焰般的形状和流动，以及它所传达的崇高感觉。

Note the flame-like form and flow of the light masses, and the exalted feeling this conveys.

XLI 板

Plate XLI

照片安德森

Photo Anderson

.基督的洗礼。作者：多米尼科·西奥托普利·

埃尔·格列柯

THE .BAPTISM OF CHRIST. BY DOMINICO THEOTOCÓPULI

CALLED EL GRECO

他的焦躁火焰般的构图的另一个例子。

Another example of his restless flame-like composition.

在面板 D 中，采用了相同的组，但这次时间线 3-4 被用作主导组。第 7-8 行将 3-4 引入到 1-2，因为它与两者相关。第9-10行和第11-12行介绍了3-4到5-6，因为它们与两者相关，其他遵循相同的原则。通过引入一些覆盖交叉点的质量，基于相同的随机组，获得了与C完全不同的构图（图E）的节奏基础。

In Panel D the same group is taken, but this time line 3—4 is used as the dominant one. Line 7—8 introduces 3—4 to 1—2, as it is related to both. Lines 9—10 and 11—12 introduce 3—4 to 5—6, as they are related to both, and the others follow on the same principle. By introducing some masses covering up the crossings, a rhythmic basis for a composition (Diagram E) entirely different from C is obtained, based on the same random group.

F图中，以5-6为主线，交感线的绘制原则与之前相同。通过再次覆盖交叉点并引入平衡质量，我们从相同的随机涂鸦中获得了另一种排列。

In Panel F, 5—6 has been taken as the dominant line, and sympathetic lines drawn on the same principle as before. By again covering the crossings and introducing balancing masses we obtain yet another arrangement from the same random scribble.

我建议学生们将其作为一种新游戏，在一个面板中随机绘制另外两到三条线，问题是通过引入其他人来表达同情，从而做出和谐的安排。

I would suggest this as a new game to students, one giving another two or three lines drawn in a panel at random, the problem being to make harmonious arrangements by the introduction of others radiating in sympathy.

通常，在图片中，首先会设定某些条件；像我们最初随机绘制的一组线条这样丑陋的东西必须以图形方式进行处理，并且通过此处建议的方法可以抑制其不和谐并使整体与面板的形状和谐一致。同样的原理也适用于颜色，通过引入与两种原始颜色相关的其他颜色，可以使不和谐的音符变得和谐，从而通过简单的阶段将视线从一种颜色引导到另一种颜色，并破坏震撼力。某种程度上，音乐家会通过从一个键到另一个键的几个和弦，将你从一个键带到另一个非常遥远的地方；然而，如果他直接带你去那里，你会感到非常震惊。事实上，这些从一个键到另一个键的转换令人愉悦且令人惊讶，并且非常有效。

Often in a picture certain conditions are laid down to start with; something as ugly as our original group of lines drawn at random has to be treated pictorially, and it is by means such as here suggested that its discordancy can be subdued and the whole brought into harmony with the shape of your panel. The same principles apply in colour, discordant notes can be brought into harmony by the introduction of others related to both the original colours, thus leading the eye from one to the other by easy stages and destroying the shock. Somewhat in the way a musician will take you from one key into another very remote by means of a few chords leading from the one to the other; whereas, had he taken you straight there, the shock would have been terrible. As it is, these transitions from one key into another please and surprise one, and are very effective.

图十八

Diagram XVIII

展示如何通过引入其他与它们相关的线条来使不相关的线条变得和谐

SHOWING HOW LINES UNRELATED CAN BE BROUGHT INTO HARMONY BY THE INTRODUCTION OF OTHERS IN SYMPATHY WITH THEM

图十九

Diagram XIX

展示如何通过引入其他与它们相关的线条来使不相关的线条变得和谐

SHOWING HOW LINES UNRELATED CAN BE BROUGHT INTO HARMONY BY THE INTRODUCTION OF OTHERS IN SYMPATHY WITH THEM

在 H 中，我在最初的潦草中引入了一条直线，这在某种程度上增加了将它们联系起来的难度。但通过从 1-2 辐射出 7-8 和 9-10，我们将这条直线引入到 5-6。因为虽然5-6和9-10不是从同一点辐射出来的，但它们显然是一致的。出于同情，这只是最后标记为5的线的一小部分，如果5-6沿着虚线走，它就会从与9-10相同的点辐射出来。我们仍然需要考虑第 3-4 行。但通过画11-12，我们把它与5-6联系起来，这样逐步经过9-10和7-8，直到原来的直线1-2。第 13-14 行通过与 3-4、11-12 以及 5-6 相关，进一步协调了该组，其余部分呼应了 5-6 并增加了主导摇摆。在 L 处，质量已经被引入，覆盖了交叉线，我们有了构图的基础。

In H, I have introduced a straight line into our initial scribble, and this somewhat increases the difficulties of relating them. But by drawing 7—8 and 9—10 radiating from 1—2, we have introduced this straight line to 5—6. For although 5—6 and 9—10 do not radiate from the same point, they are obviously in sympathy. It is only a short part of the line at the end marked 5 that is out of sympathy, and had 5—6 taken the course of the dotted line, it would have radiated from the same point as 9-10. We still have line 3—4 to account for. But by drawing 11—12 we bring it into relationship with 5—6, and so by stages through 9—10 and 7—8 to the original straight line 1—2. Line 13—14, by being related to 3—4, 11—12, and also 5—6, still further harmonises the group, and the remainder echo 5—6 and increase the dominant swing. At L masses have been introduced, covering crossing lines, and we have a basis for a composition.

在图 I 中，线条是像以前一样随机绘制的，但其中两条是直的且成直角，较长的一条穿过面板的中心。首先要做的就是通过绘制其他与这条线平行的线来欺骗眼睛，使其不知道这条线位于中心，引导眼睛向下看到第 9-10 行，现在这条线比 1-2 重要得多，而且效果更好。与面板高度成比例。垂直线 3-4 相当鲜明和孤独，因此我们在 11-12 和 13-14 处引入了另外两条垂直线，这修改了这一点，另外两条线与 5-6 一致，并将视线带回在面板的水平顶部，建立了某种统一，引入了一些质量来完成 M 处的方案。

In Diagram I lines have been drawn as before, at random, but two of them are straight and at right angles, the longer being across the centre of the panel. The first thing to do is to trick the eye out of knowing that this line is in the centre by drawing others parallel to it, leading the eye downwards to line 9—10, which is now much more important than 1—2 and in better proportion with the height of the panel. The vertical line 3—4 is rather stark and lonely, and so we introduce two more verticals at 11—12 and 13—14, which modify this, and with another two lines in sympathy with 5—6 and leading the eye back to the horizontal top of the panel, some sort of unity is set up, the introduction of some masses completing the scheme at M.

某些血统关系会产生一种同情的品质，对此有必要说些什么。那些本能地选择帽子或做头发以适合自己脸型的女士本能地知道这一点；知道他们脸上的某些东西通过他们的帽子或头发中的某些形式来强调，并且必须注意确保由此引起的注意的东西是他们最好的而不是他们最差的点。

There is a quality of sympathy set up by certain line relationships about which it is important to say something. Ladies who have the instinct for choosing a hat or doing their hair to suit their face instinctively know something of this; know that certain things in their face are emphasised by certain forms in their hats or hair, and the care that has to be taken to see that the things thus drawn attention to are their best and not their worst points.

与颜色相关的原理更普遍地被理解；每个人都知道蓝色眼睛的蓝色是如何通过富有同情心的蓝色连衣裙或帽子上的蓝色等来强调的。但同样的原则也适用于线条。美丽的眼睛和眉毛的线条品质是由图画帽的长共鸣曲线所强调的，而项链的美化效果部分是由于同样的原因，线条与眼睛或脸部的椭圆形相呼应。 ，根据其悬挂的高度或高度。因此，长线条的影响是从面部线条中“挑选”出与之相符的线条，从而强调它们。

The principle is more generally understood in relation to colour; everybody knows how the blueness of blue eyes is emphasised by a sympathetic blue dress or touch of blue on a hat, &c. But the same principle applies to lines. The qualities of line in beautiful eyes and eyebrows are emphasised by the long sympathetic curve of a picture hat, and the becoming effect of a necklace is partly due to the same cause, the lines being in sympathy with the eyes or the oval of the face, according to how low or high it hangs. The influence of long lines is thus to “pick out” from among the lines of a face those with which they are in sympathy, and thus to accentuate them.

为了说明这一点，第 178 页转载了爱德华·伯恩·琼斯爵士 (Sir Edward Burne-Jones, Bart) 的《艺术家女儿的肖像》。

To illustrate this, on page 178 is reproduced “The Portrait of the Artist’s Daughter,” by Sir Edward Burne-Jones, Bart.

这幅肖像画中的线条布置所带出的两件事是眼睛的美丽和脸型。取而代之的是镜子，镜子的扩大圆圈与眼睛共鸣，将注意力集中在眼睛上。左边的那只眼睛（看图片）最受关注，镜子的线条比另一只眼睛更贴近这只眼睛，因为它更靠近中心。如果你愿意麻烦的话，可以在一张头部大小的不透明纸上剪一个洞，然后将其放在插图上，观察脸部，而不受这些外部线条的影响；并注意，在没有镜子强调一只眼睛的情况下，两只眼睛之间的注意力分散得多。这有助于印象的统一，而双眼意识到焦点太集中可能会受到影响。这面镜子形成了一种眼睛瞳孔的回声，其左角窗户的反射与高光相对应，极大地帮助了这些眼睛所持有的咒语。

The two things that are brought out by the line arrangement in this portrait are the beauty of the eyes and the shape of the face. Instead of the picture hat you have the mirror, the widening circles of which swing round in sympathy with the eyes and concentrate the attention on them. That on the left (looking at the picture) has the greatest attention concentrated upon it, the lines of the mirror being more in sympathy with this than the other eye, as it is nearer the centre. If you care to take the trouble, cut a hole in a piece of opaque paper the size of the head and placing it over the illustration look at the face without the influence of these outside lines; and note how much more equally divided the attention is between the two eyes without the emphasis given to the one by the mirror. This helps the unity of impression, which with both eyes realised to so intense a focus might have suffered. This mirror forms a sort of echo of the pupil of the eye with its reflection of the window in the left-hand corner corresponding to the high light, greatly helping the spell these eyes hold.

图二十

Diagram XX

表现出使该构图统一的线条的交感流动

INDICATING THE SYMPATHETIC FLOW OF LINES THAT GIVE

UNITY TO THIS COMPOSITION

XLII 板

Plate XLII

照片霍利尔

Photo Hollyer

艺术家的女儿

爱德华·伯恩·琼斯爵士巴特的肖像。

PORTRAIT OF THE ARTIST’S DAUGHTER

SIR EDWARD BURNE-JONES, BART.

交感节奏的一个例子。（参见对页图。）

An example of sympathetic rhythm. (See diagram on opposite page.)

线条排列强调的另一种形式是脸部的椭圆形。首先是项链，其线条通向倒影右侧的项链。这条链子与脸部线条如此契合绝非偶然：它几乎不会在原来的位置停留太久，而且一定是艺术家出于意图（有意识或本能）而将其放置在这个位置。凸显脸部线条。左边的倒影的线条和镜子的线条也是一致的。衣服的褶皱中的其他部分，以及形成手和手臂质量的部分，进一步呼应了脸部的这条线条，并使整个画布呈现出强烈的同情统一的表达。

The other form accentuated by the line arrangement is the oval of the face. There is first the necklace, the lines of which lead on to those on the right in the reflection. It is no mere accident that this chain is so in sympathy with the line of the face: it would hardly have remained where it is for long, and must have been put in this position by the artist with the intention (conscious or instinctive) of accentuating the face line. The line of the reflection on the left and the lines of the mirror are also sympathetic. Others in the folds of the dress, and those forming the mass of the hands and arms, echo still further this line of the face and bring the whole canvas into intense sympathetic unity of expression.

不同的发型方式可能对脸部产生的影响在随附的涂鸦中有所说明。这两个配置文件是完全一样的——我费了很大的劲才让它们如此。两种发型对脸部外观的影响是非常显着的。A中的线条向上摆动，一般与脸部的线条和脸部较尖锐的突起相呼应（见虚线），而B中的饱满向下的曲线则与脸部较丰满的曲线相呼应，特别强调下半身的丰满度。下巴在青春期过后就被美丽所畏惧（见虚线）。只有非常锋利的脸型才能承受后脑勺的低低结，在这种情况下，这是最简单、最漂亮的发型之一。向后高高挽起的头发使轮廓线条更加锐利，而低发结则使轮廓线条变得钝化。

The influence that different ways of doing the hair may have on a face is illustrated in the accompanying scribbles. The two profiles are exactly alike—I took great trouble to make them so. It is quite remarkable the difference the two ways of doing the hair make to the look of the faces. The upward swing of the lines in A sympathise with the line of the one and the sharper projections of the face generally(see dotted lines), while the full downward curves of B sympathise with the fuller curves of the face and particularly emphasise the fullness under the chin so dreaded by beauty past its first youth (see dotted lines). It is only a very sharply-cut face that can stand this low knot at the back of the head, in which case it is one of the simplest and most beautiful ways of doing the hair. The hair dragged up high at the back sharpens the lines of the profile as the low knot blunts them.

图二十一

Diagram XXI

说明将头发放在后面对脸部的影响。向上的线条如何增强特征的清晰度

ILLUSTRATING THE EFFECT ON THE FACE OF PUTTING THE HAIR UP AT THE BACK. HOW THE UPWARD FLOW OF LINES ACCENTUATES THE SHARPNESSES OF THE FEATURES

图二十二

Diagram XXII

说明将头发放在后面的低位在与图二十一相同的脸上的效果。如此给出的更完整的线条如何强调功能的完整性

ILLUSTRATING THE EFFECT ON THE SAME FACE AS DIAGRAM XXI, OF PUTTING THE HAIR LOW AT THE BACK. HOW THE FULLER LINES THUS GIVEN ACCENTUATE THE FULLNESSES OF THE FEATURES

本章的插图以图表形式绘制，目的是试图表明线条的音乐品质和它们能够唤起的情感并不依赖于自然形式的真实性，而是抽象安排本身所固有的。也就是说，每当你得到某种线条的排列时，无论产生这种排列的自然界是什么物体，你总会得到属于这种排列的特定情感刺激。例如，每当你在一幅没有任何强烈对比的画面中看到长而不间断的水平线时，你总是会得到一种强烈的安静和安宁的印象；无论产生这些线条的自然物体是天空中长长的水平云彩的广阔乡村，微风徐徐在其表面形成水平条的水池，还是木材场中的一堆木头。每当你在构图中出现长垂直线时，无论是大教堂内部、松树林还是一排脚手架杆，你总会有一种抽象中与一排垂直线相关的特殊感觉。此外，每当你看到蜗壳的摆动线条时，都会传达出一种能量的印象，无论是破碎的波浪、滚滚的云朵、旋转的灰尘，还是只是车轮工匠院子里一堆缠结的铁环。如上所述，这些效果可能会因与所代表的事物相关的联想而大大增加、改变，甚至被破坏。如果在画木场时，艺术家更多地考虑让它看起来像一堆具有商业联系的实木，而较少考虑使用其外观所呈现的艺术材料来制作画面，那么他可能会错过长期的和谐印象。存在的木堆的线条。如果你在观看他的作品时首先想到的是实木，那么他显然会错过该主题能够产生的任何艺术感觉的表达。同样的情况也适用于车轮修理工院子里的脚手架杆或箍铁。

The illustrations to this chapter have been drawn in diagrammatical form in order to try and show that the musical quality of lines and the emotions they are capable of calling up are not dependent upon truth to natural forms but are inherent in abstract arrangements themselves. That is to say, whenever you get certain arrangements of lines, no matter what the objects in nature may be that yield them, you will always get the particular emotional stimulus belonging to such arrangements. For instance, whenever you get long uninterrupted horizontal lines running through a picture not opposed by any violent contrast, you will always get an impression of intense quiet and repose; no matter whether the natural objects yielding these lines are a wide stretch of country with long horizontal clouds in the sky, a pool with a gentle breeze making horizontal bars on its surface, or a pile of wood in a timber yard. And whenever you get long vertical lines in a composition, no matter whether it be a cathedral interior, a pine forest, or a row of scaffold poles, you will always have the particular feeling associated with rows of vertical lines in the abstract. And further, whenever you get the swinging lines of the volute, an impression of energy will be conveyed, no matter whether it be a breaking wave, rolling clouds, whirling dust, or only a mass of tangled hoop iron in a wheelwright’s yard. As was said above, these effects may be greatly increased, modified, or even destroyed by associations connected with the things represented. If in painting the timber yard the artist is thinking more about making it look like a stack of real wood with its commercial associations and less about using the artistic material its appearance presents for the making of a picture, he may miss the harmonic impression the long lines of the stacks of wood present. If real wood is the first thing you are led to think of in looking at his work, he will obviously have missed the expression of any artistic feeling the subject was capable of producing. And the same may be said of the scaffold poles or the hoop iron in the wheelwright’s yard.

根据主题的要求，这种以图画为基础的抽象线条结构将或多或少地与自然的真理以及所有丰富多样的自然形式重叠。因此，在大型装饰作品中，绘画必须作为建筑方案的一部分，必须有严格的骨架才能将作品与其周围的建筑形式结合起来，而它必须成为其中的一部分；不应该允许任何对自然真理的认识的放纵而掩盖它。但在一幅可供仔细观察的小柜子画中，这种线条基础的支撑力就显得不那么重要了，充分放纵各种丰富的自然细节是可以的。这就是为什么以丰富的细节为荣的画家总是画小画，而喜欢更大的真理的画家总是画更大尺寸的画。说图片越小，包含的细节越多，图片越大，包含的细节越少，这听起来很矛盾，但它却是事实。因为虽然一幅大图不一定是建筑方案的一部分，但它必须从远处看，在远处看不到小细节，而这些细节会大大削弱它的表现力。而且，小画面很容易进入视野，并且可以很容易地掌握整个印象，而无需强调主线。但在一幅大图上，最大的困难之一是让它读起来简单，给人留下深刻的印象。它的尺寸使其难以舒适地进入视野，必须使用一切技巧来给予它所谓的“广度治疗”，没有什么比细节更能干扰这一点。

This structure of abstract lines at the basis of a picture will be more or less overlaid with the truths of nature, and all the rich variety of natural forms, according to the requirements of the subject. Thus, in large decorative work, where the painting has to take its place as part of an architectural scheme, the severity of this skeleton will be necessary to unite the work to the architectural forms around it, of which it has to form a part; and very little indulgence in the realisation of natural truth should be permitted to obscure it. But in the painting of a small cabinet picture that exists for close inspection, the supporting power of this line basis is not nearly so essential, and a full indulgence in all the rich variety of natural detail is permissible. And this is how it happens that painters who have gloried in rich details have always painted small pictures, and painters who have preferred larger truths pictures of bigger dimensions. It sounds rather paradoxical to say the smaller the picture the more detail it should contain, and the larger the less, but it is nevertheless true. For although a large picture has not of necessity got to be part of an architectural scheme, it has to be looked at from a distance at which small detail could not be seen, and where such detail would greatly weaken its expressive power. And further, the small picture easily comes within the field of vision, and the whole impression can be readily grasped without the main lines being, as it were, underlined. But in a big picture one of the greatest difficulties is to get it to read simply, to strike the eye as one impression. Its size making it difficult for it to be got comfortably within the field of vision, every artifice has to be used to give it “ breadth of treatment,” as it is called, and nothing interferes with this like detail.

十三

XIII

各种质量

VARIETY OF MASS

构成一幅画的物质在形状、色调值、边缘、纹理或质量以及渐变方面都有不同的变化。这是一个相当令人敬畏的清单，但其中每一个细节都有其自身的节奏特征，有必要对此说一说。

THE masses that go to make up a picture have variety in their shape, their tone values, their edges, in texture or quality, and in gradation. Quite a formidable list, but each of these particulars has some rhythmic quality of its own about which it will be necessary to say a word.

至于形状的多样性，关于线条的许多内容同样适用于线条所包围的空间。不可能写出自然物体所拥有的无限多种形状所包含的节奏可能性，除非指出为此研究自然是多么必要。形状的多样性是最难发明的事物之一，也是自然界中最常见的事物之一。无论你的构想多么富有想象力，无论你的设计能够发挥多大的作用，如果你的作品想要具有多样性、充满活力和趣味，那么总有一天，对自然的研究是必要的。尝试想象画一排等高、等间距的榆树，将大自然的变化融入其中；你就会发现发明是多么困难。在检查你的作品时，你可能会发现重复的两到三种宠物形式，或者可能只有一种。或者试着从想象中画出一些积云，在天空中画出几组积云，你会发现你无意识地重复了多少次相同的形式。如果一个画家不经常在他的画作中参考自然，人们就会对他所喜爱的云或树感到厌倦。大自然是多样性的伟大宝库；即使是一块煤也能暗示出比你能发明的更有趣的岩石形态。香烟的袅袅烟雾呈现出无数种优美的形态，充满了对美丽线条排列的建议，这是令人着迷的。如果你的作品中的这种形式的多样性变得过多，它将压倒你的概念的统一性。在你的构图的更大的统一性中，你需要想象力，而你的形式的多样性应该始终服从这个想法。

As to variety of shape, many things that were said about lines apply equally to the spaces enclosed by them. It is impossible to write of the rhythmic possibilities that the infinite variety of shapes possessed by natural objects contain, except to point out how necessary the study of nature is for this. Variety of shape is one of the most difficult things to invent, and one of the commonest things in nature. However imaginative your conception, and no matter how far you may carry your design, working from imagination, there will come a time when studies from nature will be necessary if your work is to have the variety that will give life and interest. Try and draw from imagination a row of elm trees of about the same height and distance apart, and get the variety of nature into them; and you will see how difficult it is to invent. On examining your work you will probably discover two or three pet forms repeated, or there may be only one. Or try and draw some cumulus clouds from imagination, several groups of them across a sky, and you will find how often again you have repeated unconsciously the same forms. How tired one gets of the pet cloud or tree of a painter who does not often consult nature in his pictures. Nature is the great storehouse of variety; even a piece of coal will suggest more interesting rock-forms than you can invent. And it is fascinating to watch the infinite variety of graceful forms assumed by the curling smoke from a cigarette, full of suggestions for beautiful line arrangements. If this variety of form in your work is allowed to become excessive it will overpower the unity of your conception. It is in the larger unity of your composition that the imaginative faculty will be wanted, and variety in your forms should always be subordinated to this idea.

大自然并不那么容易提出统一的方案，原因很简单，你的图片的第一个条件，四条边界线，在自然界中并不存在。你可能会得到无数的安排建议，并且应该始终留意它们，但你的想象力必须将它们与你的四条边界线的严格条件联系起来，而大自然在这里对你没有多大帮助。但是，当需要形式的多样性时，她是杰出的，并且永远不建议在不必要的地方浪费创造力。

Nature does not so readily suggest a scheme of unity, for the simple reason that the first condition of your picture, the four bounding lines, does not exist in nature. You may get infinite suggestions for arrangements, and should always be on the look out for them, but your imagination will have to relate them to the rigorous conditions of your four bounding lines, and nature does not help you much here. But when variety in the forms is wanted, she is pre-eminent, and it is never advisable to waste inventive power where it is so unnecessary.

但是，尽管大自然并不容易提出适合面板条件的设计，但她的倾向始终是排列的统一。如果你把一束花或叶子随意地塞进一个装满水的花瓶里，你可能会得到一个非常混乱的排列。但如果你把它放置一段时间，让大自然有机会，你会发现叶子和花朵排列得更加和谐。如果你砍掉一组树中的一棵，通常会留下一个多么刺耳的不和谐的间隙；但随着时间的推移，大自然会通过这里扔一根树枝，那里填补一个缺口，尽可能地纠正问题，使一切重新团结起来。我准备好被告知这与美丽无关，而只是大自然试图寻求光和空气的结果。但无论物理原因是什么，事实都是一样的，即自然法则倾向于图形上的排列统一。

But although nature does not readily suggest a design fitting the conditions of a panel her tendency is always towards unity of arrangement. If you take a bunch of flowers or leaves and haphazard stuff them into a vase of water, you will probably get a very chaotic arrangement. But if you leave it for some time and let nature have a chance you will find that the leaves and flowers have arranged themselves much more harmoniously. And if you cut down one of a group of trees, what a harsh discordant gap is usually left; but in time nature will, by throwing a bough here and filling up a gap there, as far as possible rectify matters and bring all into unity again. I am prepared to be told this has nothing to do with beauty but is only the result of nature’s attempts to seek for light and air. But whatever be the physical cause, the fact is the same, that nature’s laws tend to pictorial unity of arrangement.

最好尝试解释一下音值的含义。形成视觉印象的所有质量或色调（这些术语通常可以互换使用）都可以被认为与想象的比例相关，从白色代表最亮的色调，到黑色代表最暗的色调。这种价值尺度不仅仅指光和影，而是光和影、颜色和整个视觉印象被认为是不同程度的黑暗或明亮的质量的马赛克。强光下的深色物体可能比阴影下的白色物体更亮，反之亦然：这取决于反射光的量。颜色仅在影响想象的黑白尺度中色调的位置时才重要。正确观察这些音调值是一件最重要的事情，也是一件不小的困难。

It will be as well to try and explain what is meant by tone values. All the masses or tones (for the terms are often used interchangeably) that go to the making of a visual impression can be considered in relation to an imagined scale from white, to represent the lightest, to black, to represent the darkest tones. This scale of values does not refer to light and shade only, but light and shade, colour, and the whole visual impression are considered as one mosaic of masses of different degrees of darkness or lightness. A dark object in strong light may be lighter than a white object in shadow, or the reverse: it will depend on the amount of reflected light. Colour only matters in so far as it affects the position of the tone in this imagined scale of black and white. The correct observation of these tone values is a most important matter, and one of no little difficulty.

“音调”一词有两种含义，首先是指个体群众及其在“音调值”范围内的关系；其次，当提到这些价值与支配整个印象的统一音调理念的音乐关系时。以非常相似的方式，您可以将音乐中的单个音符称为音调，也可以将整个管弦乐队的音调称为音调。价值观这个词总是指的是我们想象中从黑到白的范围内各个质量或色调的关系。当某些值比我们的和谐感感觉应有的更暗或更亮时，我们就说一幅图片失去价值或走调，就像我们应该说管弦乐队中的乐器走调或走调一样当它高于或低于我们的和谐感所允许的时候。色调与图片的颜色密切相关，以至于很难将其分开处理，并且在谈到一般色调时通常在某种意义上将颜色包括在内。我们说它有暖色调或冷色调。

The word tone is used in two senses, in the first place when referring to the individual masses as to their relations in the scale of “tone values” ; and secondly when referring to the musical relationship of these values to a oneness of tone idea governing the whole impression. In very much the same way you might refer to a single note in music as a tone, and also to the tone of the whole orchestra. The word values always refers to the relationship of the individual masses or tones in our imagined scale from black to white. We say a picture is out of value or out of tone when some of the values are darker or lighter than our sense of harmony feels they should be, in the same way as we should say an instrument in an orchestra was out of tone or tune when it was higher or lower than our sense of harmony allowed. Tone is so intimately associated with the colour of a picture that it is a little difficult to treat of it apart, and it is often used in a sense to include colour in speaking of the general tone. We say it has a warm tone or a cold tone.

色调值的有序排列具有特殊的节奏美，这是图像设计的一个非常重要的部分。这种音调音乐从最早的时候起就以基本的方式出现在艺术中，但最近受到了更多的关注，印象派运动和对艺术的研究给这个主题带来了很多新的启发。中国和日本在这方面几乎总是非常美丽。

There is a particular rhythmic beauty about a well-ordered arrangement of tone values that is a very important part of pictorial design. This music of tone has been present in art in a rudimentary way since the earliest time, but has recently received a much greater amount of attention, and much new light on the subject has been given by the impressionist movement and the study of the art of China and Japan, which is nearly always very beautiful in this respect.

当音乐的质量大而简单时，当它们的沉思不受太多变化的干扰，并且它们的纹理和层次变化很小时，音乐的这种品质最为显着。因此，轻微的薄雾通常会改善风景的色调。它简化了音调，将它们集中在一起，消除了许多较小的变体。我什至听说过，通过在其上搅乱或上釉的雾气可以改善照片的色调。

This quality of tone music is most dominant when the masses are large and simple, when the contemplation of them is not disturbed by much variety, and they have little variation of texture and gradation. A slight mist will often improve the tone of a landscape for this reason. It simplifies the tones, masses them together, obliterating many smaller varieties. I have even heard of the tone of a picture being improved by such a mist scrambled or glazed over it.

XLIII 板

Plate XLIII

卡普里岛索拉罗山

MONTE SOLARO CAPRI

木炭和白粉笔牛皮纸的研究

Study on brown paper in charcoal and white chalk

出于同样的原因，女士脸上的粉末如果不过多，也会有所改善。它通过破坏那些切割群众的令人痛苦的闪亮灯光来简化音调；它还破坏了大量的半色调，使光线几乎延伸到阴影的开始处。

The powder on a lady’s face, when not overdone, is an improvement for the same reason. It simplifies the tones by destroying the distressing shining lights that were cutting up the masses; and it also destroys a large amount of half tone, broadening the lights almost up to the commencement of the shadows.

当仅使用音阶的中间值时，也就是说，当亮处的色调较低而暗处的色调较高时，色调关系最为和谐。

Tone relationships are most sympathetic when the middle values of your scale only are used, that is to say, when the lights are low in tone and the darks high.

当对比强烈并且从黑暗到光明的突然跳跃时，它们是最戏剧性和强烈的。

They are most dramatic and intense when the contrasts are great and the jumps from dark to light sudden.

半光效果的令人同情的魅力很大程度上是由于色调仅处于中间范围；而在暴风雨消退时，你可能会看到一幅风景被突然出现的太阳照亮的景象，在退去的暴风雨的乌云映衬下，这种引人注目的戏剧性效果归因于对比的戏剧性品质。强烈的色调对比，加上温暖的阳光照耀的大地和退去的风暴的寒冷、愤怒的蓝色之间的强烈色彩对比，赋予了这样的场景戏剧性的效果和力量。

The sympathetic charm of half-light effects is due largely to the tones being of this middle range only; whereas the striking dramatic effect of a storm clearing, in which you may get a landscape brilliantly lit by the sudden appearance of the sun, seen against the dark clouds of the retreating storm, owes its dramatic quality to contrast. The strong contrasts of tone values coupled with the strong colour contrast between the warm sunlit land and the cold angry blue of the retreating storm, gives such a scene much dramatic effect and power.

价值观的主题将在处理语气的统一方面得到进一步的处理。

The subject of values will be further treated in dealing with unity of tone.

质量和质地的多样性几乎太微妙了，无法写出任何被理解的前景。形成一幅图画的群众中不同品质和纹理的发挥必须得到第一手的欣赏，对此几乎没有什么可写的。通过这种方式，油画几乎具有无限的多样性。但最好先放弃对这些品质的研究，直到你掌握了这种媒介的更简单的方面。

Variety in quality and texture is almost too subtle to write about with any prospect of being understood. The play of different qualities and textures in the masses that go to form a picture must be appreciated at first hand, and little can be written about it. Oil paint is capable of almost unlimited variety in this way. But it is better to leave the study of such qualities until you have mastered the medium in its more simple aspects.

我们所说的特殊音调音乐并没有因为这种多样性的大量使用而有所帮助。整个作品的质量统一最适合展示它。像惠斯勒这样的音调大师在他们的作品中非常小心地保留这种质量的统一性，主要依靠粗糙画布的纹理来提供必要的多样性并防止音调质量的死寂。

The particular tone music of which we were speaking is not helped by any great use of this variety. A oneness of quality throughout the work is best suited to exhibit it. Masters of tone, like Whistler, preserve this oneness of quality very carefully in their work, relying chiefly on the grain of a rough canvas to give the necessary variety and prevent a deadness in the quality of the tones.

但是，当需要更多的力量和亮度时，以破碎、破碎的方式使用油漆是必要的，因为它会捕获更多的光线，从而增加印象的力量。克劳德·莫奈和他的追随者在追求辉煌的过程中在他们的许多画作中运用了这种品质，取得了新的、引人注目的结果。但这是以牺牲许多美丽的形式品质为代价的，因为这种粗糙的表面并不容易适合任何精细的建模。然而，就克劳德·莫奈的作品而言，这并不重要，因为形式及其所有微妙之处并不是他试图利用的东西。大自然足够广阔，足以让美丽的作品在不同的视觉部门中完成，尽管人们无法将这些作品与更广泛范围的成功图片放在同一平面上。他是最早对其进行单独研究的人之一，而闪闪发光的光线和氛围的特殊视觉美感几乎不可能存在于一部同时致力于美丽形式的意义和形式吸引力的作品中，正如在前面的章节，不完全是由于视觉而是由于心理感知，触觉通过联想进入其中。灯光的闪烁和闪烁破坏了这种触摸理念，而这种理念在更安静的灯光下可以得到更好的保留。

But when more force and brilliancy are wanted, some use of your paint in a crumbling, broken manner is necessary, as it catches more light, thus increasing the force of the impression. Claude Monet and his followers in their search for brilliancy used this quality throughout many of their paintings, with new and striking results. But it is at the sacrifice of many beautiful qualities of form, as this roughness of surface does not lend itself readily to any finesse of modelling. In the case of Claude Monet’s work, however, this does not matter, as form with all its subtleties is not a thing he made any attempt at exploiting. Nature is sufficiently vast for beautiful work to be done in separate departments of vision, although one cannot place such work on the same plane with successful pictures of wider scope. And the particular visual beauty of sparkling light and atmosphere, of which he was one of the first to make a separate study, could hardly exist in a work that aimed also at the significance of beautiful form, the appeal of form, as was explained in an earlier chapter, not being entirely due to a visual but to a mental perception, into which the sense of touch enters by association. The scintillation and glitter of light destroys this touch idea, which is better preserved in quieter lightings.

与使用厚漆有关的另一点，我认为还没有被充分了解，那就是，它更容易被其成分中的油浮到表面而变色。十五年前，我做了建议每个学生尽快做的事情，即制作一张他可能使用的颜色的图表。找一块好的白色画布，在上面按列设置不同的颜色，就像在调色板上做的那样，在旁边用墨水写下名字。然后拿一把调色刀，最好是象牙色的，把它从单独的颜料块中拖出来，以获得不同厚度的渐变，从刀末端的最薄层到被挤出的厚块。管的。还建议预先在画布上用硬点划出一些铅笔线，以使油漆条与线交叉。该图表对于您记录时间对油漆的影响具有最大的价值。为了使它更完整，应该把几个制造商的颜色都放下，至少应该在上面加上几个不同品牌的白色。由于白色在你的绘画中占据如此之大，因此非常有必要使用一种不会改变的白色。

There is another point in connection with the use of thick paint, that I don’t think is sufficiently well known, and that is, its greater readiness to be discoloured by the oil in its composition coming to the surface. Fifteen years ago I did what it would be advisable for every student to do as soon as possible, namely, make a chart of the colours he is likely to use. Get a good white canvas, and set upon it in columns the different colours, very much as you would do on your palette, writing the names in ink beside them. Then take a palette-knife, an ivory one by preference, and drag it from the individual masses of paint so as to get a gradation of different thicknesses, from the thinnest possible layer where your knife ends to the thick mass where it was squeezed out of the tube. It is also advisable to have previously ruled some pencil lines with a hard point down the canvas in such a manner that the strips of paint will cross the lines. This chart will be of the greatest value to you in noting the effect of time on paint. To make it more complete, the colours of several makers should be put down, and at any rate the whites of several different makes should be on it. As white enters so largely into your painting it is highly necessary to use one that does not change.

我注意到的两件事是，白色条带的细端总是比粗端更白，并且随着时间的推移，所有颜料都变得更加透明。铅笔线在这里很有用，因为可以通过较细的部分看到它们，并显示这种透明度发生的程度。但我想强调的一点是，在较厚的一端，油漆中较大的油团在干燥时总是浮到表面，使表面大大变暗和泛黄；而细端的少量油并没有使其变黑到任何程度。

The two things that I have noticed are that the thin ends of the strips of white have invariably kept whiter than the thick end, and that all the paints have become a little more transparent with time. The pencil lines here come in useful, as they can be seen through the thinner portion, and show to what extent this transparency has occurred. But the point I wish to emphasise is that at the thick end the larger body of oil in the paint, which always comes to the surface as it dries, has darkened and yellowed the surface greatly; while the small amount of oil at the thin end has not darkened it to any extent.

克劳德·莫奈显然知道这一点，并通过在吸水性画布上作画来克服这个困难，画布从下面吸出多余的油，从而防止其到达表面并及时使作品褪色。当采用这种厚画方式时，应始终使用吸水性画布。它还具有使暗淡干燥表面比光亮表面更加光亮的优点。

Claude Monet evidently knew this, and got over the difficulty by painting on an absorbent canvas, which sucks the surplus oil out from below and thus prevents its coming to the surface and discolouring the work in time. When this thick manner of painting is adopted, an absorbent canvas should always be used. It also has the advantage of giving a dull dry surface of more brilliancy than a shiny one.

虽然与绘画不同，但各种纹理可以进入任何适合大规模绘画的媒介所完成的绘画中。木炭、连续蜡笔、平版粉笔，甚至红色粉笔和铅笔都能够呈现出各种纹理，这在很大程度上取决于所用纸张的表面。但这更多的是绘画的范畴，而不是绘画的范畴，而木炭，它更像是绘画而不是绘画，是唯一可以使用木炭产生很大效果的媒介。

Although not so much as with painting, varieties of texture enter into drawings done with any of the mediums that lend themselves to mass drawing; charcoal, conté crayon, lithographic chalk, and even red chalk and lead pencil are capable of giving a variety of textures, governed largely by the surface of the paper used. But this is more the province of painting than of drawing proper, and charcoal, which is more painting than drawing, is the only medium in which it can be used with much effect.

该剧有一种非常优美的节奏感，从群众边缘的柔和到尖锐。单调、尖锐的锋芒是冷酷、严厉和冷酷无情的。有时，这是一种有用的品质，特别是在装饰工作中，在这种情况下，不太需要更亲密的同情品质，并且较硬的形式更适合您的彩绘装饰应构成的建筑环境。另一方面，单调、柔和的边缘看起来非常软弱无力，而且完全缺乏力量，令人不快。如果你发现任何成功的作品都具有这种边缘质量，并且没有任何锐度，那么它可能拥有的任何质量将取决于颜色，而不是形状。

There is a very beautiful rhythmic quality in the play from softness to sharpness on the edges of masses. A monotonous sharpness of edge is hard, stern, and unsympathetic. This is a useful quality at times, particularly in decorative work, where the more intimate sympathetic qualities are not so much wanted, and where the harder forms go better with the architectural surroundings of which your painted decoration should form a part. On the other hand, a monotonous softness of edge is very weak and feeble-looking, and too entirely lacking in power to be desirable. If you find any successful work done with this quality of edge unrelieved by any sharpnesses, it will depend on colour, and not form, for any qualities it may possess.

一定程度的柔和会带来魅力，并且非常受欢迎：“我确实喜欢这样，因为它是如此美好和柔和”是工作室里演出日的常规言论，总是意味着一种伟大的赞美，但很少被视为是受苦的画家就是这样。但是，这两种品质在轮廓上的平衡会产生最令人愉快的结果，而艺术家总是在寻找这种变化。他很少让锋利的锋利跑得太远而不偶尔失去它。对于构图的悬挂来说，可能需要大力坚持一些前缘。但即使在这里，单调的锐度也太死板了，尽管可以感受到跑步的坚定性，但仍会引入微妙的变化来防止死板。乔尔乔内时代的威尼斯人是这种边缘音乐的大师。围绕其构图的群众的线条结构以最神秘和令人愉悦的方式融合在一起。但尽管融入了周围的物质之中，它们却始终坚定不移，绝不软弱。研究一下威尼斯风格的典型例子，比如国家美术馆的《酒神和阿里阿德涅》，并注意它们的哪些地方是坚硬的，哪些地方是迷失的。

Some amount of softness makes for charm, and is extremely popular: “ I do like that because it’s so nice and soft ” is a regular show-day remark in the studio, and is always meant as a great compliment, but is seldom taken as such by the suffering painter. But a balance of these two qualities playing about your contours produces the most delightful results, and the artist is always on the look out for such variations. He seldom lets a sharpness of edge run far without losing it occasionally. It may be necessary for the hang of the composition that some leading edges should be much insisted on. But even here a monotonous sharpness is too dead a thing, and although a firmness of run will be allowed to be felt, subtle variations will be introduced to prevent deadness. The Venetians from Giorgione’s time were great masters of this music of edges. The structure of lines surrounding the masses on which their compositions are built were fused in the most mysterious and delightful way. But although melting into the surrounding mass, they are always firm and never soft and feeble. Study the edge in such a good example of the Venetian manner as the “ Bacchus and Ariadne ” at the National Gallery, and note where they are hard and where lost.

在这幅画和许多威尼斯作品中可以观察到一个相当引人注目的事实，那就是最突出的边缘被保留给了不重要的部分，比如拿着铙钹的女孩下臂上的白色帷幔，以及前面男孩头上有一朵白色的小花。肉体上的边缘到处都是融合而柔软的，而帷幔则更加锋利。您可能会在后来的威尼斯学校的许多照片中注意到同样的事情。边缘上最大的重音很少出现在头部，除非偶尔出现在眼睛中。但他们喜欢得到一些强烈强调的特征，例如一件清晰的油漆衬衫与颈部的柔软造型相映衬，以平衡肉中融合的边缘。在我们国家美术馆的腓力四世的头部中，委拉斯开兹唯一允许自己使用锋利边缘的地方是挂在脖子上的链条上的高光。此类构图中主要特征的较柔和边缘赋予这些部分巨大而神秘的感觉，为了恢复平衡，在非必要的配件中引入了锐度。

There is one rather remarkable fact to be observed in this picture and many Venetian works, and this is that the most accented edges are reserved for unessential parts, like the piece of white drapery on the lower arm of the girl with the cymbals, and the little white flower on the boy’s head in front. The edges on the flesh are everywhere fused and soft, the draperies being much sharper. You may notice the same thing in many pictures of the later Venetian schools. The greatest accents on the edges are rarely in the head, except it may be occasionally in the eyes. But they love to get some strongly-accented feature, such as a crisply-painted shirt coming against the soft modelling of the neck, to balance the fused edges in the flesh. In the head of Philip IV in our National Gallery the only place where Velazquez has allowed himself anything like a sharp edge is in the high lights on the chain hanging round the neck. The softer edges of the principal features in such compositions give a largeness and mystery to these parts, and to restore the balance, sharpnesses are introduced in non-essential accessories.

在委拉斯开兹的《布雷达的投降》中穿着白色束腰外衣的人物中，请注意外套和马鼻子的白色边缘的奇妙变化，而且最尖锐的口音是为这些非必需品保留的就像外衣上的蝴蝶结和马额头上松散的头发。委拉斯凯兹的棱角非常精彩，无法仔细研究。他主要以平淡的色调或平面进行创作。但他的边缘的丰富性和多样性使他的作品不像他的一些追随者那样显得平淡无奇。我很遗憾地说，这种变化在第 194 页的复制中表现得并不如我所希望的那么好，半色调处理有一种使边缘变得相当单调的倾向。

In the figure with the white tunic from Velazquez’s “Surrender of Breda,” here reproduced, note the wonderful variety on the edges of the white masses of the coat and the horse’s nose, and also that the sharpest accents are reserved for such non-essentials as the bows on the tunic and the loose hair on the horse’s forehead. Velazquez’s edges are wonderful, and cannot be too carefully studied. He worked largely in flat tones or planes; but this richness and variety of his edges keeps his work from looking flat and dull, like that of some of his followers. I am sorry to say this variety does not come out so well in the reproduction on page 194 as I could have wished, the half-tone process having a tendency to sharpen edges rather monotonously.

这种品质在自然界中随处可见。如果你以图像的方式看待任何场景，将其视为一个整体，而不是让你的眼睛专注于从一个物体到另一个物体上徘徊，而对整体却模模糊糊地意识到，而是将其视为一个美丽的整体；你会发现，群体的边界并不是坚硬的连续边缘，而是沿着它们的路线不断地发挥作用，在这里不知不觉地融入周围的群体，而在那里则更加明显。即使是一条连续的长线，例如海上的地平线，也有一定程度的这种变化，您应该始终留意。但是，当只考虑自然的各个部分并分别聚焦时，就会发现几乎到处都存在硬边缘，除非物体周围有一层正薄雾。这是看待事物的通常方式。但是一张由许多单独聚焦的小部分组成的图片不会组合在一起形成一个视觉印象。

This quality is everywhere to be found in nature. If you regard any scene pictorially, looking at it as a whole and not letting your eye focus on individual objects wandering from one to another while being but dimly conscious of the whole, but regarding it as a beautiful ensemble; you will find that the boundaries of the masses are not hard continuous edges but play continually along their course, here melting imperceptibly into the surrounding mass, and there accentuated more sharply. Even a long continuous line, like the horizon at sea, has some amount of this play, which you should always be on the look out for. But when the parts only of nature are regarded and each is separately focussed, hard edges will be found to exist almost everywhere, unless there is a positive mist enveloping the objects. And this is the usual way of looking at things. But a picture that is a catalogue of many little parts separately focussed will not hang together as one visual impression.

照片安德森

Photo Anderson

板 XLIV

Plate XLIV

布雷达投降的一部分。委拉斯开兹

PART OF THE SURRENDER OF BREDA. BY VELAZQUEZ

注意白色束腰外衣边缘数量的变化。（不幸的是，复制品

并没有像原件那样显示这一点。）

Note the varied quantity of the edge in white mass of tunic. (The reproduction does

not unfortunately show this as well as the original.)

在自然主义作品中，描绘一个焦点印象的必要性与描绘真实透视的必要性一样重要。正如透视对绘画的影响一样，印象派绘画体系对色调的影响也同样如此。在引入透视之前，画中的每个单独的物体都是依次固定在其上的单独的视觉中心。透视法的作用是坚持一幅画中的所有物体都应该相对于一个固定的视觉中心来绘制。以前，无论是前景还是远处，每个物体都被画成一个硬焦点，印象派告诉我们，你不能同时将画面的焦点放在前景和远处，

In naturalistic work the necessity for painting to one focal impression is as great as the necessity of painting in true perspective. What perspective has done for drawing, the impressionist system of painting to one all-embracing focus has done for tone. Before perspective was introduced, each individual object in a picture was drawn with a separate centre of vision fixed on it in turn. What perspective did was to insist that all objects in a picture should be drawn in relation to one fixed centre of vision. And whereas formerly each object was painted to a hard focus, whether it was in the foreground or the distance, impressionism teaches that you cannot have the focus in a picture at the same time on the foreground and the distance,

当然，有许多具有更原始惯例的绘画方式，其中不考虑焦点的考虑。但在所有旨在再现自然外观直接产生的印象的绘画中，焦点问题及其对边缘质量的影响非常重要。

Of course there are many manners of painting with more primitive conventions in which the consideration of focus does not enter. But in all painting that aims at reproducing the impressions directly produced in us by natural appearances, this question of focus and its influence on the quality of your edges is of great importance.

应该说一下物体的锯齿状边缘，就像天空中看到的树木的锯齿状边缘一样。这些都是很难处理的，几乎每个风景画家都有不同的公式。树木的坚硬、挑剔、剪裁、照片般的外观忽略了它们的美丽和崇高。

Something should be said about the serrated edges of masses, like those of trees seen against the sky. These are very difficult to treat, and almost every landscape painter has a different formula. The hard, fussy, cut-out, photographic appearance of trees misses all their beauty and sublimity.

可以作为示例的三种主要治疗类型。首先是早期意大利画家的树木，其中的三个例子在第197页上有插图。总是选择一棵细小的树，并在天空的衬托下画出有节奏的树叶图案。这种在浅色背景上处理深色图案的方法非常有用，可以与柔和的肤色形成对比。但如今，这种处理更常应用于前景中的树叶喷雾，其图案产生了非常丰富的效果。米莱的《休息之谷》中的白杨树的绘制方式与意大利人的绘制方式大致相同，在现代树木画中是独一无二的，树木被视为天空衬托下的树叶图案。米莱斯的深色绘画质量也得到了提高，与贝利尼和许多早期画家的绘画非常相似。

There are three principal types of treatment that may serve as examples. In the first place there are the trees of the early Italian painters, three examples of which are illustrated on page 197. A thin tree is always selected, and a rhythmic pattern of leaves against the sky painted. This treatment of a dark pattern on a light ground is very useful as a contrast to the softer tones of flesh. But the treatment is more often applied nowadays to a spray of foliage in the foreground, the pattern of which gives a very rich effect. The poplar trees in Millais’ “Vale of Rest” are painted in much the same manner as that employed by the Italians, and are exceptional among modern tree paintings, the trees being treated as a pattern of leaves against the sky. Millais has also got a raised quality of paint in his darks very similar to that of Bellini and many early painters.

乔尔乔内在风景艺术中添加了另一棵树：在他的卢浮宫“音乐会香槟”中出现的丰富、饱满、坚固的形式，复制于第 150 页。在这张照片中，您可以看到两种类型的处理。左边是叶子变化的图案，右边是密实的处理。

Giorgione added another tree to landscape art: the rich, full, solidly-massed forms that occur in his “ Concert Champetre ” of the Louvre, reproduced on page 150. In this picture you may see both types of treatment. There are the patterns of leaves variety on the left and the solidly-massed treatment on the right.

图二十三

Diagram XXIII

早期意大利树木处理的例子

EXAMPLES OF EARLY ITALIAN TREATMENT OF TREES

A. 来自圣安萨诺清唱剧中的图片。“Il trionfo dell'Amore”，归因于波提切利。

A. From pictures in Oratorio di S. Ansano. “Il trionfo dell’Amore,” attributed to Botticelli.

B. 摘自波提切利的《L'Annunziazione》，佛罗伦萨乌菲兹美术馆。

B. From “ L’Annunziazione,” by Botticelli, Uffizi, Florence.

C. 摘自威尼斯学院乔瓦尼·贝利尼的《La Vergine》。

C. From “ La Vergine,” by Giovanni Bellini in the Accademia, Venice.

柯罗在他后来的作品中提出了一种治疗方法，此后一直被广泛采用。他以非常广阔的视野观察树木，忽略了个别的叶子，并将它们分解成大量的色调，在天空的衬托下，这里消失了，在这里发现更加清晰。这些主要边界内的从属树叶质量以相同的方式处理，分解为无限变化边缘的质量。这部戏剧，他边缘的这种失落与发现，是柯罗的树木的巨大魅力之一。当它们从这个整体的角度来画时，可能会暗示这里有几片叶子，那里有一根树枝，与天空形成鲜明对比，但你会发现这种音调音乐的基础，这种渐强和渐弱贯穿了他的所有作品。以后的工作（参见第 215 页插图）。

Corot in his later work developed a treatment that has been largely followed since. Looking at trees with a very wide focus, he ignored individual leaves, and resolved them into masses of tone, here lost and here found more sharply against the sky. The subordinate masses of foliage within these main boundaries are treated in the same way, resolved into masses of infinitely varying edges. This play, this lost-and-foundness at his edges is one of the great distinguishing charms of Corot’s trees. When they have been painted from this mass point of view, a suggestion of a few leaves here and a bough there may be indicated, coming sharply against the sky, but you will find this basis of tone music, this crescendo and diminuendo throughout all his later work (see illustration, page 215).

这是艺术中常见的三种较为极端的树木类型，但这些类型的变化非常多。无论你采取什么处理方式，都必须将树视为一个整体，并选择一些与这个大印象相关的节奏形式。这适用于所有具有锯齿状边缘的形式：必须找到一些大的顺序，边缘的复杂性必须符合该顺序。

These are three of the more extreme types of trees to be met with in art, but the variations on these types are very numerous. Whatever treatment you adopt, the tree must be considered as a whole, and some rhythmic form related to this large impression selected. And this applies to all forms with serrated edges: some large order must be found to which the fussiness of the edges must conform.

边缘这个主题一般来说是一个非常重要的主题，也是一个大师比一般学生更关心的主题。有趣的是，所有伟大的画家都是如何以一种坚硬的方式开始的，边缘变化不大，逐渐发展出一种宽松的方式，学习掌握硬质轮廓坚持在你的脸上的设计困难，并且只有当完全掌握了这一点后，让自己自由地发展这种边缘游戏，这种更宽松的处理。

The subject of edges generally is a very important one, and one much more worried over by a master than by the average student. It is interesting to note how all the great painters have begun with a hard manner, with edges of little variety, from which they have gradually developed a looser manner, learning to master the difficulties of design that hard contours insist on your facing, and only when this is thoroughly mastered letting themselves develop freely this play on the edges, this looser handling.

因为在最自由的绘画之下，如果画得好，就会发现一个由精心构造的体块和线条组成的基岩结构。他们可能永远不会被坚持，但他们的稳定影响总是会被感受到。因此，如果你能约束自己好好设计你的作业，那么在你的学生作业中，宁可硬性，也不要松散。偶尔只让自己放松一下。

For under the freest painting, if it be good, there will be found a bed-rock structure of well-constructed masses and lines. They may never be insisted on but their steadying influence will always be felt. So err in your student work on the side of hardness rather than looseness, if you would discipline yourself to design your work well. Occasionally only let yourself go at a looser handling.

渐变的多样性自然在很大程度上取决于构图中物体的形状和明暗。但是，在研究表达形式和赋予造型的色调层次时，你永远不应该忽视将注意力集中在你所画的部分与整个画面的关系上。任何事情都不应该与这个宏大的构想不协调。最困难的事情之一是决定画面中较小部分所允许的多样性和重点，以便使所有部分与应主导整体的印象的统一性相协调；允许使用多少数值范围来建模每个单独的零件。在最好的工作中，在这方面运用了最大的节约，以便可以保留尽可能多的权力。你只有从黑到白的一种音阶可供使用，只有一个八度音阶可以在其范围内创作你的交响曲。音乐中没有高八度和低八度来扩展效果。因此，在对不同部分进行建模时，请务必谨慎使用音调值。

Variety of gradation will naturally be governed largely by the form and light and shade of the objects in your composition. But while studying the gradations of tone that express form and give the modelling, you should never neglect to keep the mind fixed upon the relation the part you are painting bears to the whole picture. And nothing should be done that is out of harmony with this large conception. It is one of the most difficult things to decide the amount of variety and emphasis allowable for the smaller parts of a picture, so as to bring all in harmony with that oneness of impression that should dominate the whole; how much of your scale of values it is permissible to use for the modelling of each individual part. In the best work the greatest economy is exercised in this respect, so that as much power may be kept in reserve as possible. You have only the one scale from black to white to work with, only one octave within the limits of which to compose your tone symphonies. There are no higher and lower octaves as in music to extend your effect. So be very sparing with your tone values when modelling the different parts.

十四

XIV

质量统一

UNITY OF MASS

前面所说的关于路线统一的内容显然适用于界定群众的轮廓，因此我们无需就此主题再多说什么。应该说的特殊品质是通过精心安排和有节奏地考虑的色调值方案赋予画面的统一性。

WHAT has been said about unity of line applies obviously to the outlines bounding the masses, so that we need not say anything further on that subject. The particular quality of which something should be said, is the unity that is given to a picture by means of a well-arranged and rhythmically considered scheme of tone values.

在光线和气氛的不同方面所看到的物体的相对色调值的变化是无限的且不断变化的；这本身就是一项非常特殊的研究。大自然是这里伟大的老师，她的音调安排总是具有统一性。她试图用大气的包裹来掩盖我们伟大城镇的丑陋，演奏出最美妙的交响曲，这对眼睛来说是多么友善啊！因此，利用男人对她的空气的烟雾亵渎来掩盖他对她的乡村，一个制造业城镇的另一次亵渎。

The modifications in the relative tone values of objects seen under different aspects of light and atmosphere are infinite and ever varying; and this is quite a special study in itself. Nature is the great teacher here, her tone arrangements always possessing unity. How kind to the eye is her attempt to cover the ugliness of our great towns in an envelope of atmosphere, giving the most wonderful tone symphonies; thus using man’s desecration of her air by smoke to cover up his other desecration of her country-side, a manufacturing town.

这种对价值观的研究是现代艺术的一个显着特征。但取自自然的方案并不是唯一和谐的方案。老一辈的大师们对他们的画作中的一两种经过反复尝试的色调安排感到满意，这些色调安排往往根本不符合自然的外观，但仍然很和谐。最主要的例子是低色调的天空。在许多艺术时期，色调高于天空的肉体画几乎是普遍的，并且在肖像画中仍然经常看到。然而，只有在强烈的阳光下，自然界才会如此，只要将手举在天空背景上就可以轻松看到这一点。这条规则可能的例外是黑暗的暴风云，在这种情况下，你的手必须被天空另一部分的一些强光强烈照亮，才能在它的映衬下显得明亮。

This study of values is a distinguishing feature of modern art. But schemes taken from nature are not the only harmonious ones. The older masters were content with one or two well-tried arrangements of tone in their pictures, which were often not at all true to natural appearances but nevertheless harmonious. The chief instance of this is the low-toned sky. The painting of flesh higher in tone than the sky was almost universal at many periods of art, and in portraits is still often seen. Yet it is only in strong sunlight that this is ever so in nature, as you can easily see by holding your hand up against a sky background. The possible exception to this rule is a dark storm-cloud, in which case your hand would have to be strongly lit by some bright light in another part of the sky to appear light against it.

当人们希望将兴趣集中在人物上时，天空的高色调是一个相当大的困难。眼睛本能地转向画面中的光团，如果这些光团是天空，那么这些人物就会失去一些重要性。降低语气的时尚有很多值得一说的地方，因为它给数字带来了更多的兴趣。但它很容易给气氛带来一种沉重、闷闷不乐的气氛，而且只有在坦率的传统治疗中才真正可接受，在这种治疗中，人们并没有被引导去期待隐含的真理达到自然的效果。如果人物中的自然现象表现得很真实，那么背景中也会出现同样的真实情况。但如果只在图中选择某些事实，并且处理方式不接近自然主义，那么就可以在不失真实性的情况下对背景采取更大的自由度。

This high tone of the sky is a considerable difficulty when one wishes the interest centred on the figures. The eye instinctively goes to the light masses in a picture, and if these masses are sky, the figures lose some importance. The fashion of lowering its tone has much to be said for it on the score of the added interest it gives to the figures. But it is apt to bring a heavy stuffy look into the atmosphere, and is only really admissible in frankly conventional treatment, in which one has not been led to expect implicit truth to natural effect. If truth to natural appearances is carried far in the figures, the same truth will be expected in the background; but if only certain truths are selected in the figures, and the treatment does not approach the naturalistic, much more liberty can be taken with the background without loss of verisimilitude.

但大自然的音调安排是统一的，很难改进。如果可以的话，通常建议将图片中的色调方案建立在对自然价值观的充分研究的基础上。

But there is a unity about nature’s tone arrangements that it is very difficult to improve upon; and it is usually advisable, if you can, to base the scheme of tone in your picture on a good study of values from nature.

老一代画家很少尝试黄昏、月光甚至阳光等效果，至少在他们的人物题材中是这样。大自然在这些更不寻常的方面所呈现的所有可爱的色调安排都是一项新的研究，并为艺术家提供了无限的新素材。许多艺术家满足于简单地使用它本身，罕见的色调效果之美足以用最简单的配件来制作一幅画。但在人物构图上，将大自然的音乐的某些罕见方面与精美的人物设计相结合，可以想象出什么新奇的东西。

Such effects as twilight, moonlight, or even sunlight were seldom attempted by the older painters, at any rate in their figure subjects. All the lovely tone arrangements that nature presents in these more unusual aspects are a new study, and offer unlimited new material to the artist. Many artists are content to use this simply for itself, the beauty of a rare tone effect being sufficient with the simplest accessories to make a picture. But in figure composition, what new and wonderful things can be imagined in which some rare aspect of nature’s tone-music is combined with a fine figure design.

尽管许多人可能感受到这些价值观的影响，但它们并不容易被准确地感知。您应该非常努力地学习才能获得对微妙音调安排的准确感知的真正眼睛。那么这该怎么办呢？教任何人去看东西，即使不是不可能，也是非常困难的。关于这个主题，关于大众多样性一章已经写过的内容，没什么可说的了。每个质量都必须与想象的色阶相关联来考虑，如我们所见，黑色代表最暗，白色代表最高光。黑玻璃通过减弱光线，使你能够更准确地观察这些关系；强光的耀眼质量让人很难判断它们。但这只能用于矫正眼睛，并且应该将玻璃中看到的自然与玻璃中看到的作品进行比较。用黑玻璃观察，然后将你看到的东西与直接看到的作品进行比较，这并不是一个公平的比较，并且会导致作品色调低沉，几乎没有光彩。

These values are not easily perceived with accuracy, although their influence may be felt by many. A true eye for the accurate perception of subtle tone arrangements is a thing you should study very diligently to acquire. How then is this to be done? It is very difficult, if not impossible, to teach anybody to see. Little more can be said than has already been written about this subject in the chapter on variety in mass. Every mass has to be considered in relation to an imagined tone scale, taking black for your darkest and white for your highest light as we have seen. A black glass, by reducing the light, enables you to observe these relationships more accurately; the dazzling quality of strong light making it difficult to judge them. But this should only be used to correct one’s eye, and the comparison should be made between nature seen in the glass and your work seen also in the glass. To look in a black glass and then compare what you saw with your work looked at direct is not a fair comparison, and will result in low-toned work with little brilliancy.

现在，为了表示绘画中的这种色调范围，我们将白色颜料作为最高音，将黑色颜料作为最低音。尽管您可能非常接近这两种极端，但绝不建议您采取任何一种极端做法。也就是说，画面中永远不应该有纯白色或纯黑色的物质。当一个人用完整个音域时，就会产生一种尖叫声，给人一种不受约束和软弱的感觉；有点像歌手唱出最高音或最低音时所经历的感觉。对于一位优秀的歌手来说，人们总觉得他可以唱得更高或更低，视情况而定，这给他的演唱留下了额外的印象。同样，在艺术中，保留一些这种储备力量总是明智的。此外，自然界中最高的光从来都不是没有颜色的，这会降低色调；最深的黑暗也不是无色的，这会提高它们的色调。但这也许是教条化的，也许美丽的工作应该用所有你可以“鼓掌”的极端来完成，尽管我认为这不太可能。

Now, to represent this scale of tones in painting we have white paint as our highest and black paint as our lowest notes. It is never advisable to play either of these extremes, although you may go very near to them. That is to say, there should never be pure white or pure black masses in a picture. There is a kind of screaminess set up when one goes the whole gamut of tone, that gives a look of unrestraint and weakness; somewhat like the feeling experienced when a vocalist sings his or her very highest or very lowest note. In a good singer one always feels he could have gone still higher or still lower, as the case may be, and this gives an added power to the impression of his singing. And in art, likewise, it is always advisable to keep something of this reserve power. Also, the highest lights in nature are never without colour, and this will lower the tone; neither are the deepest darks colourless, and this will raise their tone. But perhaps this is dogmatising, and it may be that beautiful work is to be done with all the extremes you can “clap on,” though I think it very unlikely.

在所有较安静的照明方面，从黑色到白色的油漆范围就足够了。但是，如果想要强烈、明亮的灯光效果，就必须牺牲一些东西，才能让这种光彩的外观变得有说服力。

In all the quieter aspects of lighting this range from black to white paint is sufficient. But where strong, brilliantly lit effects are wanted, something has to be sacrificed, if this look of brilliancy is to be made telling.

为了增加某些音调之间的关系，必须牺牲其他音调。有两种方法可以做到这一点。第一种，也是最早采用的方法，是从音阶的光端开始，以非常接近纯白色的东西作为最高光，得到这个和下一个最明亮的色调之间的关系，然后继续因此，从最浅到最暗，逐个色调。但是，以这种方式工作，你会发现，如果主题恰好被明亮地照亮，那么在你完成自然界中的关系规模之前，你就达到了你可以在绘画中制造的最大的黑暗。

In order to increase the relationship between some of the tones others must be sacrificed. There are two ways of doing this. The first, which was the method earliest adopted, is to begin from the light end of the scale, and, taking something very near pure white as your highest light, to get the relationships between this and the next most brilliant tone, and to proceed thus, tone by tone, from the lightest to the darkest. But working in this way you will find that you arrive at the greatest dark you can make in paint before you have completed the scale of relationships as in nature, if the subject happens to be brilliantly lit.

另一种方法是降低最高的亮度和最暗的黑暗，然后在它们之间相对地调整色调范围。但你会发现，这样工作，除非大自然中的主体被非常安静地照亮，否则你不会得到像大自然给人的那种强烈的色调印象。

Another method is to put down the highest light and the darkest dark, and then work your scale of tone relatively between them. But it will be found that working in this way, unless the subject in nature is very quietly lit, you will not get anything like the forceful impression of tone that nature gives.

第三种方法，也是更现代的方法，是从音阶的黑暗端开始，感受最大的黑暗和次暗的色调之间的真实关系，依此类推，向光明前进。通过这种方法，您将在达到自然界的最高光线之前达到油漆中的最高光线。在这种情况下，必须修改音阶浅端的所有色调，而不是像其他情况那样修改暗端。在描绘阳光时，后一种方法更为有效，可以产生一种光彩夺目的效果，而在早期方法中，比例尺是从光端开始的，所以画面的大部分都是暗的，以至于给人一种光线和空气消失了，取而代之的是一片阴暗的大地，太阳照射处的刺眼光芒非但没有驱散阴暗，反而加剧了阴暗。

The third way, and this is the more modern, is to begin from the dark end of the scale, getting the true relationship felt between the greatest dark and the next darkest tone to it, and so on, proceeding towards the light. By this method you will arrive at your highest light in paint before the highest light in nature has been reached. All variety of tone at the light end of the scale will have to be modified in this case, instead of at the dark end as in the other case. In the painting of sunlight the latter method is much the more effective, a look of great brilliancy and light being produced, whereas in the earlier method, the scale being commenced from the light end, so much of the picture was dark that the impression of light and air was lost and a dark gloomy land took its place, a gloom accentuated rather than dispelled by the streaks of lurid light where the sun struck.

伦勃朗是从音阶的亮侧开始色调关系的一个例子，因此他的画布的很大一部分总是黑暗的

Rembrandt is an example of beginning the tone relationships from the light side of the scale, and a large part of his canvas is in consequence always dark

巴斯蒂安·勒帕吉（Bastien Lepage）是第二种方法的一个例子，即固定两个极端并在它们之间进行相对处理。值得注意的是，他主要局限于安静的灰色日光照明效果，其渲染完全在他的调色板范围内。

Bastien Lepage is an example of the second method, that of fixing upon two extremes and working relatively between them. And it will be noticed that he confined himself chiefly to quiet grey day effects of lighting, the rendering of which was well within the range of his palette.

从黑暗的一面开始，获得音阶这一面的真实色调关系，然后让灯光自行处理的方法，也许是特纳首先使用的。但现在，只要需要强烈的光感，就广泛使用它。画面中明亮的物体代替了黑暗的物体占据了主导地位，具有极大的光彩。

The method of beginning from the dark side, getting the true relations of tones on this side of the scale, and letting the lights take care of themselves, was perhaps first used by Turner. But it is largely used now whenever a strong impression of light is desired. The light masses instead of the dark masses dominate the pictures, which have great brilliancy.

这些色调值只能通过观察广阔视野的眼睛来感知它们的真实关系。由于人们习惯于只观察自然的个别部分，因此只能隐约感觉到总体印象，因此无法观察到它们。如果艺术家想要感知各个部分与这种价值尺度的真实关系，他就必须养成将视觉注意力推广到广阔领域的习惯。半闭上眼睛是常用的方法，但会破坏对大量颜色的感知。另一种使眼睛失去焦点并能够判断大型关系的方法是扩大眼睛。这实际上是增加而不是减少颜色，但并不是判断微妙色调关系的安全方法。

These tone values are only to be perceived in their true relationship by the eye contemplating a wide field of vision. With the ordinary habit of looking only at individual parts of nature, the general impression being but dimly felt, they are not observed. The artist has to acquire the habit of generalising his visual attention over a wide field if he would perceive the true relation of the parts to this scale of values. Half closing the eyes, which is the usual method of doing this, destroys the perception of a great deal of colour. Another method of throwing the eyes out of focus and enabling one to judge of large relationships, is to dilate them widely. This rather increases than diminishes the colour, but is not so safe a method of judging subtle tone relationships.

在户外进行这项研究，从光的安静效果开始会更容易。这个国家的一些柔和的灰色日子色调非常美丽，变化很小，可以进行仔​​细研究。在室内工作时，请将拍摄对象放置在远离直射光的地方，并避免太多的光和阴影；让光从你身后射来。

It is easier in approaching this study out of doors to begin with quiet effects of light. Some of those soft grey days in this country are very beautiful in tone, and change so little that careful studies can be made. And with indoor work, place your subject rather away from the direct light and avoid much light and shade ; let the light come from behind you.

如果尝试非常强的光效果，例如阳光，或由一扇明亮的窗户照亮的黑暗内部，则会发现这些值更简单且更粗糙，通常会分解为两个质量，明亮的光线与黑暗的对比阴影。自从列奥纳多·达·芬奇首次使用以来，这种强光与暗影形成对比的色调排列是过去许多流派最喜欢的公式。它赋予设计以巨大的广度和辉煌，它是最令人印象深刻的音调安排之一。国家美术馆中列奥纳多·达·芬奇的《岩石圣母》是这种处理方式的早期例子。这里转载的科雷乔的《维纳斯、水星和丘比特》是另一个特别好的例子。雷诺兹和许多十八世纪的人在他们的工作中几乎完全使用了这种方案。这种强烈的明暗，通过在很大程度上消除半色调，有助于在高度完整的作品中保留非常强大的简单和直接的陈述。对于某些印象来说，它可能永远不会更好，但这是一个非常陈旧的惯例。现代艺术家中的马奈为这一公式赋予了新的生命，尽管他的灵感并非直接来自科雷乔，而是来自西班牙学派。通过在强烈的、相当刺眼的直射光下工作，他进一步消除了半色调，并在很大程度上消除了明暗。在现实和朴素的空气运动正在摧毁简单的直接性的时代，他的作品具有巨大的价值，正如它对大而简单的质量的坚持一样，带回了一种坦率的设计感。近年来，他的影响力非常大，因为艺术家们认为它为设计和色彩提供了新的公式。明暗和半色调是色彩的大敌，它们玷污了色彩的纯度。在某种程度上，设计也破坏了画面的平面性。但在强烈的直射光下，物体被尽可能简单地切割出来，而且它们的颜色几乎没有被明暗所玷污。马奈复制的这幅画就是他的风格的典型例子。光团在黑暗背景下形成的图案的侵略性形状是他对所有公认的美准则的革命态度的典型。但即使在这里，有趣的是，许多构图原则都得到了遵守。该设计通过沙发的水平线和后面屏幕的垂直线将其边界统一起来，而整个秋千悬挂在从左上角到右下角的对角线上，强烈标记的边缘图片底部的床单和枕头是平行的。

If very strong light effects, such as sunlight, or a dark interior lit by one brilliant window, are attempted, the values will be found to be much simpler and more harsh, often resolving themselves into two masses, a brilliant light contrasted with a dark shadow. This tone arrangement of strong light in contrast with dark shadow was a favourite formula with many schools of the past, since Leonardo da Vinci first used it. Great breadth and splendour is given by it to design, and it is one of the most impressive of tone arrangements. Leonardo da Vinci’s “ Our Lady of the Rocks,” in the National Gallery, is an early example of this treatment. And Correggio’s “ Venus, Mercury, and Cupid,” here reproduced, is another particularly fine example. Reynolds and many of the eighteenth-century men used this scheme in their work almost entirely. This strong light and shade, by eliminating to a large extent the half tones, helps to preserve in highly complete work a simplicity and directness of statement that is very powerful. For certain impressions it probably will never be bettered, but it is a very well-worn convention. Manet among the moderns has given new life to this formula, although he did not derive his inspiration directly from Correggio but through the Spanish school. By working in a strong, rather glaring, direct light, he eliminated still further the half tones, and got rid to a great extent of light and shade. Coming at a time when the realistic and plain air movements were destroying simple directness, his work was of great value, bringing back, as it did with its insistence on large, simple masses, a sense of frank design. His influence has been very great in recent years, as artists have felt that it offered a new formula for design and colour. Light and shade and half tone are the great enemies of colour, sullying, as they do, its purity; and to some extent to design also, destroying, as they do, the flatness of the picture. But with the strong direct light, the masses are cut out as simply as possible, and their colour is little sullied by light and shade. The picture of Manet’s reproduced is a typical example of his manner. The aggressive shape of the pattern made by the light mass against the dark background is typical of his revolutionary attitude towards all accepted canons of beauty. But even here it is interesting to note that many principles of composition are conformed to. The design is united to its boundaries by the horizontal line of the couch and the vertical line of the screen at the back, while the whole swing hangs on the diagonal from top left-hand corner to right lower corner, to which the strongly marked edge of the bedclothes and pillow at the bottom of the picture is parallel.

板 XLV

Plate XLV

照片 豪夫斯坦格尔

Photo Haufstaengl

科雷吉奥。金星、水星和丘比特（国家美术馆）

CORREGGIO. VENUS, MERCURY, AND CUPID (NATIONAL GALLERY)

最有效的音调安排之一的好例子；

黑暗背景上光线明亮、造型丰富的光团。

A fine example of one of the most effective tone arrangements; a brilliantly-lit,

richly-modelled light mass on a dark background.

板 XLVI

Plate XLVI

照片诺尔登

Photo Neurdein

奥林匹亚。马奈 (卢浮宫)

OLYMPIA. MANET (LOUVRE)

科雷格洛的维纳斯所示的成分公式的进一步发展。

通过消除半色调的低直射光照明来增加力量。

A further development of the composition formula illustrated by Corregglo’s Venus. Added force is given by

lighting with low direct light eliminating half-tones.

大而平坦的色调给设计带来了力量和简单性，以及非常有价值的表达的广度和广度，此外还显示了用于建模的值的每一个微小变化；从而使您能够以最少的音调消耗进行建模。无论您最终希望为您的价值观添加多少丰富的变化，请注意在规划您的图片时，您会获得一个设计简单且尽可能平坦的色调的良好基本结构。

Large flat tones give a power and simplicity to a design, and a largeness and breadth of expression that are very valuable, besides showing up every little variety in the values used for your modelling; and thus enabling you to model with the least expenditure of tones. Whatever richness of variation you may ultimately desire to add to your values, see to it that in planning your picture you get a good basic structure of simply designed, and as far as possible flat, tones.

在谈到质量的多样性时，我们看到这些色调在价值尺度上越接近，产生的印象就越保守和安静，而距离越远或对比度越大，效果就越戏剧化和强烈。图片中的色调情感，就像线条和色彩的情感一样，应该与主题的本质相协调。

In speaking of variety in mass we saw how the nearer these tones are in the scale of values, the more reserved and quiet the impression created, and the further apart or greater the contrast, the more dramatic and intense the effect. And the sentiment of tone in a picture, like the sentiment of line and colour, should be in harmony with the nature of your subject.

一般来说，当使用较小范围的值时，与主题需要强烈对比时相比，在大量构图中可以使用更多种类的色调和形状。 当需要强烈的色调对比或所谓的黑白效果时，质量块的设计必须非常简单。如果不是这样，如果整个构图都以较小的质量形成强烈的对比，那么效果的广度和统一性就会丧失。而当一种音调与另一种音调之间的相对值差异很小时，效果的单一性并不会因音调数量过多而受到太大干扰。因此，强烈对比的效果是最难管理的，因为将任何复杂的构图简化为大质量的简单表达模式并不容易。

Generally speaking more variety of tone and shape in the masses of your composition is permissible when a smaller range of values is used than when your subject demands strong contrasts. When strong contrasts of tone or what are called black and white effects are desired, the masses must be very simply designed. Were this not so, and were the composition patterned all over with smaller masses in strong contrast, the breadth and unity of the effect would be lost. While when the difference of relative values between one tone and another is slight, the oneness of effect is not so much interfered with by there being a large number of them. Effects of strong contrasts are therefore far the most difficult to manage, as it is not easy to reduce a composition of any complexity to a simple expressive pattern of large masses.

这一原则也适用于颜色问题。在仅使用中间范围色调的情况下以及在色调对比度很小的情况下，与在对比度很大的情况下相比，可以沉迷于更大的对比度和颜色多样性。换句话说，你不可能在同一张照片中出现强烈的色彩对比和强烈的色调对比：太暴力了。

This principle applies also in the matter of colour. Greater contrasts and variety of colour may be indulged in where the middle range only of tones is used, and where there is little tone contrast, than where there is great contrast. In other words, you cannot with much hope of success have strong contrasts of colour and strong contrasts of tone in the same picture: it is too violent.

如果颜色对比强烈，它们之间的色调对比必须很小。日本人和中国人经常最成功地利用色彩的强烈对比，注意它们应具有相同的色调值。

If you have strong contrasts of colour, the contrasts of tone between them must be small. The Japanese and Chinese often make the most successful use of violent contrasts of colour by being careful that they shall be of the same tone value.

再说一次，如果你有强烈的色调对比，就像伦勃朗喜欢的那样，你就不可能成功地拥有强烈的色彩对比。雷诺兹既喜欢色彩又喜欢强烈的色调对比，正如他在讲座中告诉我们的那样，他必须做出妥协，将阴影全部设为棕色，以保持作品的和谐。

And again, where you have strong contrasts of tone, such as Rembrandt was fond of, you cannot successfully have strong contrasts of colour as well. Reynolds, who was fond both of colour and strong tone contrast, had to compromise, as he tells us in his lectures, by making the shadows all the same brown colour, to keep a harmony in his work.

直线和平坦色调、曲线和渐变色调之间存在一些类比。关于这些诗句的节奏意义的大量讨论也同样适用于此。所讲的长纵横线条传达出一种宁静的神情，触及严肃的情感音符，可以说是大平淡的色调。在广阔的光秃秃的平原上看到无云的广阔蓝天所暗示的无限感，就是一个明显的例子。出于同样的和谐原因，平静的夜晚具有如此平静和无限的表达。逐渐减弱的光线使大地变暗，增加了大地与天空之间的对比度，其结果是，西边的所有景观几乎都变成了一种暗色调，与广阔的天空光线形成鲜明对比。

There is some analogy between straight lines and flat tones, and curved lines and gradated tones. And a great deal that was said about the rhythmic significance of these lines will apply equally well here. What was said about long vertical and horizontal lines conveying a look of repose and touching the serious emotional notes, can be said of large flat tones. The feeling of infinity suggested by a wide blue sky without a cloud, seen above a wide bare plain, is an obvious instance of this. And for the same harmonic cause, a calm evening has so peaceful and infinite an expression. The waning light darkens the land and increases the contrast between it and the sky, with the result that all the landscape towards the west is reduced to practically one dark tone, cutting sharply against the wide light of the sky.

曲线在构图中以和谐的节奏摆动的优雅魅力与渐变色调有其相似之处。华托和庚斯博罗这些魅力大师知道这一点，在他们最迷人的作品中，音调音乐建立在音调渐变的原则上，在整个作品中以和谐的节奏相互摇摆和交织。大而平淡的色调及其更深思熟虑的联想在这里不合适，而且很少使用。在他们的作品中，我们看到了一个远离深刻思想及其表达的令人悲伤的影响的世界。任何更深层次的音符都不允许破坏这个假日世界的欢乐。华托创造了一个属于他自己的梦想国度，在这个国度里，疲惫的人类从此充满欢乐，所有严肃的思想都远离尘世，心灵在沉思愉快的事物中得到恢复。这种魅力在很大程度上是由于他的作品所基于的音调值从渐强到渐弱的优美演奏——与更原始和朴素的艺术所具有的力量所依赖的平坦质量的简单结构相去甚远。 。

And the graceful charm of curved lines swinging in harmonious rhythm through a composition has its analogy in gradated tones. Watteau and Gainsborough, those masters of charm, knew this, and in their most alluring compositions the tone-music is founded on a principle of tone-gradations, swinging and interlacing with each other in harmonious rhythm throughout the composition. Large, flat tones, with their more thoughtful associations are out of place here, and are seldom if ever used. In their work we see a world where the saddening influences of profound thought and its expression are far away. No deeper notes are allowed to mar the gaiety of this holiday world. Watteau created a dream country of his own, in which a tired humanity has delighted ever since, in which all serious thoughts are far away and the mind takes refreshment in the contemplation of delightful things. And a great deal of this charm is due to the pretty play from a crescendo to a diminuendo in the tone values on which his compositions are based—so far removed from the simple structure of flat masses to which more primitive and austere art owes its power.

图二十四

Diagram XXIV

显示对页上再现的乐曲的质量或音调节奏的排列原则

SHOWING THE PRINCIPLE ON WHICH THE MASS OR TONE RHYTHM OF THE

COMPOSITION REPRODUCED ON THE OPPOSITE PAGE IS ARRANGED

板 XLVII

Plate XLVII

照片 汉夫斯坦

Photo Hanfstaeng

L'Embarquement Pour Cynthère。华托（卢浮宫）

L’EMBARQUEMENT POUR CYNTHÈRE. WATTEAU (LOUVRE)

基于渐变色调的构图的典型示例。（参见对页的分析。）

A typical example of composition founded on gradated tones. (See analysis on opposite page.)

但华托的伟大成就在于，他在做到这一点的同时又没有堕落为微弱的美，而他之所以做到这一点，是因为他坚持描绘人物的性格，尤其是他的人物。他的窗帘也总是画得很漂亮，充满变化，绝不是软弱和无个性的。风景背景在这方面就更缺乏了，那里什么也没发生过，没有暴风雨压弯了他优美的树干，不断的渐变很容易让人厌倦。但如果风景更具特色的话，我们所欣赏的魅力可能就会消失。无论如何，这些人物足以防止任何病态的美丽，尽管我认为如果你删除这些人物，风景将无法容忍。

But Watteau’s great accomplishment was in doing this without degenerating into feeble prettiness, and this he did by an insistence on character in his figures, particularly his men. His draperies also are always beautifully drawn and full of variety, never feeble and characterless. The landscape backgrounds are much more lacking in this respect, nothing ever happened there, no storms have ever bent his graceful tree-trunks, and the incessant gradations might easily become wearisome. But possibly the charm in which we delight would be lost, did the landscape possess more character. At any rate there is enough in the figures to prevent any sickly prettiness, although I think if you removed the figures the landscape would not be tolerable.

但华托的追随者抓住了这个漂亮的形象，逐渐与这个角色脱节了，如果你将布歇的头像，特别是他的男人的头像，与华托的头像进行比较，你就会发现失去了多少。

But the followers of Watteau seized upon the prettiness and gradually got out of touch with the character, and if you compare Boucher’s heads, particularly his men’s heads, with Watteau’s you may see how much has been lost.

以下是这种渐变色调组合的三个示例（参见第 210、213、215 页）：

The following are three examples of this gradated tone composition (see pages 210, 213, 215) :

华托：“塞瑟尔岛登船。”

Watteau: “ Embarquement pour l’Île de Cythère.”

这是典型的华托作品，建立在渐变音调和渐变边缘的节奏演奏之上。避免平淡的色调和硬边。从顶部中心开始，带有强烈的对比色，大量树木的暗色调逐渐进入地面，并穿过画面正面的右下角，直到接近左下角时-手角，它反转了这个过程，从暗到亮开始渐变亮到暗，最后以左侧岩石形式在天空的映衬下有些尖锐。在树木和地面等中引入的丰富的音调，一开始会蒙蔽人们对这种更大的音调动机的感知，但如果没有它，丰富的多样性就无法结合在一起。粗略地说，整个暗色调框架从顶部树木的重点到左侧的岩石块，可以说是逐渐向远处延伸的；被通向地平线的山丘的楔形中间色调所切割。

This is a typical Watteau composition, founded on a rhythmic play of gradated tones and gradated edges. Flat tones and hard edges are avoided. Beginning at the centre of the top with a strongly accented note of contrast, the dark tone of the mass of trees gradates into the ground and on past the lower right-hand corner across the front of the picture, until, when nearing the lower left-hand corner, it reverses the process and from dark to light begins gradating light to dark, ending somewhat sharply against the sky in the rock form to the left. The rich play of tone that is introduced in the trees and ground, &c., blinds one at first to the perception of this larger tone motive, but without it the rich variety would not hold together. Roughly speaking the whole of this dark frame of tones from the accented point of the trees at the top to the mass of the rock on the left, may be said to gradate away into the distance; cut into by the wedge-shaped middle tone of the hills leading to the horizon.

打破这一点的是一条优美的人物线，从左边开始，丘比特的小飞翔打破了大块岩石，继续穿过画面，直到右边树下的光影将它急剧拉起。请注意，这排人物在画面中带来了漂亮的斑点，将亮点引入到较暗的物体中，最终形成了右侧人物的强烈强调的亮点；较亮的物质中融入了黑点，最终形成了天空映衬下的丘比特的形象。

Breaking across this is a graceful line of figures, beginning on the left where the mass of rock is broken by the little flight of cupids, and continuing across the picture until it is brought up sharply by the light figure under the trees on the right. Note the pretty clatter of spots this line of figures brings across the picture, introducing light spots into the darker masses, ending up with the strongly accented light spot of the figure on the right; and dark spots into the lighter masses, ending up with the figures of the cupids dark against the sky.

所有这些色调流动的稳定影响是由右侧黑暗中的树干和雕像的垂直重音、左侧距离的水平线、前面地面的轮廓以及一些人物所持的直杖。

Steadying influences in all this flux of tone are introduced by the vertical accent of the tree-stem and statue in the dark mass on the right, by the horizontal line of the distance on the left, the outline of the ground in the front, and the straight staffs held by some of the figures.

在说明该作品的炭笔涂鸦中，我小心翼翼地避免在图形或树木中绘制任何图形，以表明音调音乐如何依赖于音值的抽象排列及其节奏演奏，而不是对自然外观的真实性。

In the charcoal scribble illustrating this composition I have tried carefully to avoid any drawing in the figures or trees to show how the tone-music depends not so much on truth to natural appearances as on the abstract arrangement of tone values and their rhythmic play.

图二十五

Diagram XXV

展示了英国国家美术馆特纳的画作《嘲笑波吕斐摩斯的尤利西斯》中重奏或音调节奏的排列原理

SHOWING THE PRINCIPLE ON WHICH THE MASS OR TONE RHYTHM IS ARRANGED IN TURNER’S PICTURE IN THE NATIONAL GALLERY OF BRITISH ART, “ULYSSES DERIDING POLUPHEMUS”

当然，大自然包含各种可以想象到的音调音乐，但除非是极少数情况，否则无法通过不明智的复制找到它。爱默生说：“尽管你在全世界寻找美丽的事物，但如果你不把它带在身边，你就找不到它。”这在很大程度上适用于节奏音调的安排。

Of course nature contains every conceivable variety of tone-music, but it is not to be found by unintelligent copying except in rare accidents. Emerson says, “ Although you search the whole world for the beautiful you’ll not find it unless you take it with you,” and this is true to a greater extent of rhythmic tone arrangements.

特纳：“尤利西斯嘲笑波吕斐摩斯。”

Turner : “ Ulysses deriding Polyphemus.”

特纳非常喜欢这些渐变色调的作品，并将它们提升到了前所未有的抒情高度。他在英国国家美术馆展出的《尤利西斯嘲笑波吕斐摩斯》就是他运用这一原则的一个绝妙例子。通过将最大的黑暗和光明以鲜明的对比结合在一起，形成了一种巨大的表达统一性，正如在这幅画中，黑色的岩石和船头与初升的太阳形成鲜明对比。从这一点开始，黑暗和光明的质量在不同的方向逐渐变化，直到它们在船帆上方融合。这些帆急剧地切入黑暗的物质，而最右边的岩石和船只急剧地切入光明的物质。还要注意它们突出的边缘，以及与邻近物体尖锐的边缘，以及它们丢失的边缘，以及这种边缘的发挥所带来的令人愉悦的品质。

Turner was very fond of these gradated tone compositions, and carried them to a lyrical height to which they had never before attained. His “Ulysses deriding Polyphemus,” in the National Gallery of British Art, is a splendid example of his use of this principle. A great unity of expression is given by bringing the greatest dark and light together in sharp contrast, as is done in this picture by the dark rocks and ships’ prows coming against the rising sun. From this point the dark and light masses gradate in different directions until they merge above the ships’ sails. These sails cut sharply into the dark mass as the rocks and ship on the extreme right cut sharply into the light mass. Note also the edges where they are accented and come sharply against the neighbouring mass, and where they are lost, and the pleasing quality this play of edges gives.

地平线和前面的波浪、船的桅杆、桨，以及在原始图片中从初升的太阳放射出的线条的感觉赋予了稳定性。如果没有这些稳定的影响，这些分级质量的成分就会病态而虚弱。

Stability is given by the line of the horizon and waves in front, and the masts of the ships, the oars, and, in the original picture, a feeling of radiating lines from the rising sun. Without these steadying influences these compositions of gradated masses would be sickly and weak.

柯罗：2470 乔沙尔收藏，卢浮宫。

Corot: 2470 Collection Chauchard, Louvre.

这是柯罗音调方案的典型示例，几乎不需要在已经给出的描述中添加任何内容。用最简单的方式获得无限的乐趣。明亮的天空映衬着黑色的轮廓，形状的完美平衡以及边缘失落与发现的无限发挥，赋予这个简单的结构丰富而美丽的效果，令人非常满意。请注意柯罗如何像特纳一样，将他最伟大的光明与黑暗结合在一起，与右边的岩石切割天空形成鲜明对比。

This is a typical example of Corot’s tone scheme, and little need be added to the description already given. Infinite play is got with the simplest means. A dark silhouetted mass is seen against a light sky, the perfect balance of the shapes and the infinite play of lost-and-foundness in the edges giving to this simple structure a richness and beauty effect that is very satisfying. Note how Corot, like Turner, brings his greatest light and dark together in sharp contrast where the rock on the right cuts the sky.

图二十六

Diagram XXVI

柯罗的集体节奏系统的典型例子，

巴黎卢浮宫的画作之后

TYPICAL EXAMPLE OF COROT’S SYSTEM OF MASS RHYTHM,

AFTER THE PICTURE IN THE LOUVRE, PARIS

中央树丛的垂直感和人物背后水平距离的暗示赋予了稳定性。

Stability is given by the vertical feeling in the central group of trees and the suggestion of horizontal distance behind the figure.

这种分级质量和失而复得边缘的原理不仅可以在构图中较大的质量布置中使用。无论你的动机是优雅和魅力，都应该在最微小的细节中寻找它们。

It is not only in the larger disposition of the masses in a composition that this principle of gradated masses and lost and found edges can be used. Wherever grace and charm are your motive they should be looked for in the working out of the smallest details.

在结束本章时，我必须再次强调，了解这些问题并不能让你创作出一幅好画。就构图的任何规则或原则而言，构图可能是完美的，但无论如何都无关紧要。艺术赋予生命的品质总是无法分析，也拒绝用任何公式来列出。绘画和构图的这种重要品质必须来自于艺术家本人，在这里没有人可以帮助他。他必须时刻留意他的想象力在他内心激起的那些幻象，并努力，无论一开始多么犹豫，给它们一些真诚的表达。当你的脑子里充满了一些图画想法时，总是尝试把一些东西写下来，可能只是一个笨手笨脚的表达，但它可能包含细菌。稍后你可能会再次出现同样的想法，只是这次不会那么模糊，并且会发生一个发展的过程。可能需要数年时间，它才能形成足够明确的形状来证明一张照片的合理性。心灵的萌芽过程是一个缓慢的过程。但要尝试养成记录脑海中所传递的图像想法的习惯，不要等到你能画得很好才开始。绘画的质量在这里并不重要，重要的是感觉，对画面的感觉，这就是一切。

In concluding this chapter I must again insist that knowledge of these matters will not make you compose a good picture. A composition may be perfect as far as any rules or principles of composition go, and yet be of no account whatever. The life-giving quality in art always defies analysis and refuses to be tabulated in any formula. This vital quality in drawing and composition must come from the individual artist himself, and nobody can help him much here. He must ever be on the look out for those visions his imagination stirs within him, and endeavour, however haltingly at first, to give them some sincere expression. Try always when your mind is filled with some pictorial idea to get something put down, a mere fumbled expression possibly, but it may contain the germ. Later on the same idea may occur to you again, only it will be less vague this time, and a process of development will have taken place. It may be years before it takes sufficiently definite shape to justify a picture; the process of germination in the mind is a slow one. But try and acquire the habit of making some record of what pictorial ideas pass in the mind, and don’t wait until you can draw and paint well to begin. Qualities of drawing and painting don’t matter a bit here, it is the sensation, the feeling for the picture, that is everything.

如果对线条和质量的节奏特性的了解不能让你创作出一幅精美的图画，你可能会问它们有什么用？可能对某些人来说它们毫无用处。他们的艺术本能足够强大，不需要任何指导。但这样的性质是罕见的，而且它们是否能走得太远值得怀疑，而许多画家可能会因为他的画中的某些东西而省去很多担心，“如果他更多地了解绘画设计的原则，他就不会出现这种情况”。工作是违法的。我确信古代画家，比如威尼斯人，比我们更加系统化，并且拥有更加严格和快速的设计原则。他们非常了解自己手艺的科学原理，因此不需要经常依靠艺术本能来摆脱困难。他们的艺术本能可以自由地关注更高层次的事物，他们对绘画科学的了解使他们避免了现代艺术家所犯的许多小错误。如今，许多艺术家渴望摆脱传统并重新开始，这对他们的直觉能力造成了非常严重的压力，并使他们忙于纠正一些事情，而不是更多地了解一些并没有真正改变的基本原则。所有学校都一样的做法本来可以拯救他们。艺术知识就像先行者身后修建的铁路；它为后来者提供了一个出发点，进一步进入未知的自然秘密国度——这是一个不容轻易丢弃的帮助。

If knowledge of the rhythmic properties of lines and masses will not enable you to compose a fine picture, you may well ask what is their use ? There may be those to whom they are of no use. Their artistic instincts are sufficiently strong to need no direction. But such natures are rare, and it is doubtful if they ever go far, while many a painter might be saved a lot of worry over something in his picture that “won’t come did he but know more of the principle of pictorial design his work is transgressing. I feel certain that the old painters, like the Venetians, were far more systematic and had far more hard and fast principles of design than ourselves. They knew the science of their craft so well that they did not so often have to call upon their artistic instinct to get them out of difficulties. Their artistic instinct was free to attend to higher things, their knowledge of the science of picture-making keeping them from many petty mistakes that a modern artist falls into. The desire of so many artists in these days to cut loose from tradition and start all over again puts a very severe strain upon their intuitive faculties, and keeps them occupied correcting things that more knowledge of some of the fundamental principles that don’t really alter and that are the same in all schools would have saved them. Knowledge in art is like a railway built behind the pioneers who have gone before; it offers a point of departure for those who come after, further on into the unknown country of nature’s secrets—a help not lightly to be discarded.

但艺术中的一切技巧都必须被隐藏起来，一幅显然是构图的图画实际上是构图不良的。在一个好的构图中，就好像各个部分被仔细地置于有节奏的关系中，然后画面有点不和谐，因此一切都稍微偏离了位置，从而在各个部分之间引入了我们的“抖动”或生命游戏。当然，任何机械的慢跑都不会引入所提到的生命力，它必须来自艺术家直觉的生命力；尽管我听说摄影师慢跑相机，试图在其机械渲染中引入一些艺术“游戏”。但我们必须说一些话来表明，在所有优秀的作品中，作为问题基础的机械原理如何服从于作品的生命力所依赖的重要原理。

But all artifice in art must be concealed, a picture obviously composed is badly composed. In a good composition it is as though the parts had been carefully placed in rhythmic relation and then the picture jarred a little, so that everything is slightly shifted out of place, thus introducing our “dither” or play of life between the parts. Of course no mechanical jogging will introduce the vital quality referred to, which must come from the vitality of the artist’s intuition; although I have heard of photographers jogging the camera in an endeavour to introduce some artistic “play” in its mechanical renderings. But one must say something to show how in all good composition the mechanical principles at the basis of the matter are subordinate to a vital principle on which the life in the work depends.

这种对所有技巧的隐藏，这种外表的纯真和自发性，是作品中最伟大的品质之一，对其进行任何分析都是徒劳的。这就是偶尔给未受过教育的天才的作品赋予巨大魅力的原因。但是，真正的火花没有被世俗的成功或其他削弱影响所熄灭的艺术家，保留了这种新鲜感的秘密，他的学生时代的文化只被用来赋予它辉煌的表现力，但绝不会扼杀或压制它。压抑其与生俱来的魅力。

This concealment of all artifice, this artlessness and spontaneity of appearance, is one of the greatest qualities in a composition, any analysis of which is futile. It is what occasionally gives to the work of the unlettered genius so great a charm. But the artist in whom the true spark has not been quenched by worldly success or other enervating influence, keeps the secret of this freshness right on, the culture of his student days being used only to give it splendour of expression, but never to stifle or suppress its native charm.

十五

XV

平衡

BALANCE

一切事物的基础上，对立力量之间似乎存在着冲突，这种冲突永远无法达到完美的平衡，否则生命就会停止。世界在这种相反的力量的作用下保持着自己的轨道，永远找不到完美的平衡，因此活力运动得以持续。各国根据同一原则团结在一起，似乎没有一个国家能够长期保持平衡；新的力量出现，平衡被打破，国家摇摇欲坠，直到找到新的平衡。然而，追求平衡似乎是人生的目标，任何剧烈的偏离都会带来灾难。

THERE seems to be a strife between opposing forces at the basis of all things, a strife in which a perfect balance is never attained, or life would cease. The worlds are kept on their courses by such opposing forces, the perfect equilibrium never being found, and so the vitalising movement is kept up. States are held together on the same principle, no State seeming able to preserve a balance for long; new forces arise, the balance is upset, and the State totters until a new equilibrium has been found. It would seem, however, to be the aim of life to strive after balance, any violent deviation from which is accompanied by calamity.

在艺术中​​，我们也有同样的对立因素的发挥，直线和曲线、明暗、暖色和冷色彼此对立。如果它们之间的平衡是完美的，那么结果就会是平淡无奇的。但如果平衡严重失调，眼睛就会受到干扰，效果也会令人不安。当然，在以休息为目的的照片中，这种平衡将是最完美的。在更令人兴奋的主题中，不需要更少的内容，但每张照片中都应该存在一定的数量，无论其动机多么动荡；就像在好的悲剧中一样，情况的恐怖决不能掩盖治疗的美丽。

And in art we have the same play of opposing factors, straight lines and curves, light and dark, warm and cold colour oppose each other. Were the balance between them perfect, the result would be dull and dead. But if the balance is very much out, the eye is disturbed and the effect too disquieting. It will naturally be in pictures that aim at repose that this balance will be most perfect. In more exciting subjects less will be necessary, but some amount should exist in every picture, no matter how turbulent its motive; as in good tragedy the horror of the situation is never allowed to overbalance the beauty of the treatment.

让我们首先考虑直线和曲线之间的平衡。如果想要完美的休息，曲线越丰富、越饱满，平衡它们的直线就应该越严格。但如果主体要求过度的运动和生命，当然就不太需要直线的平衡影响。另一方面，如果拍摄对象需要过度的休息和沉思，那么偏见就会偏向直线。但是一幅完全由丰富的、滚动的曲线组成的图片太令人不安，无法思考，而且会变得非常恼人。在这两个极端中，完全由直线组成的一种比没有方形的一种更可取，以减轻曲线的丰富性。因为直线象征着生命中更深刻、更永恒的事物、统治和约束的力量以及无限；而丰富的曲线（即距离直线最远的曲线）似乎表达了不受控制的能量和更加旺盛的生活乐趣。恶习在任何方面都可能是过度的，但禁欲主义通常被认为是比纵欲更高尚的恶习。十八世纪的洛可可艺术是过度使用曲线形式的一个例子，而且，就像所有过度的生活乐趣一样，它是恶毒的，是庸俗娱乐场所最喜欢的装饰风格。在一些古埃及建筑中可能会看到过度使用直线和方形的形式，但这种严肃最初无疑是通过色彩的使用而软化的，无论如何，它比洛可可艺术的恶毒聪明更加高贵和精致。 。

Let us consider in the first place the balance between straight lines and curves. The richer and fuller the curves, the more severe should be the straight lines that balance them, if perfect repose is desired. But if the subject demands excess of movement and life, of course there will be less necessity for the balancing influence of straight lines. And on the other hand, if the subject demands an excess of repose and contemplation, the bias will be on the side of straight lines. But a picture composed entirely of rich, rolling curves is too disquieting a thing to contemplate, and would become very irritating. Of the two extremes, one composed entirely of straight lines would be preferable to one with no squareness to relieve the richness of the curves. For straight lines are significant of the deeper and more permanent things of life, of the powers that govern and restrain, and of infinity ; while the rich curves (that is, curves the farthest removed from the straight line) seem to be expressive of uncontrolled energy and the more exuberant joys of life. Vice may be excess in any direction, but asceticism has generally been accepted as a nobler vice than voluptuousness. The rococo art of the eighteenth century is an instance of the excessive use of curved forms, and, like all excesses in the joys of life, it is vicious and is the favourite style of decoration in vulgar places of entertainment. The excessive use of straight lines and square forms may be seen in some ancient Egyptian architecture, but this severity was originally, no doubt, softened by the use of colour, and in any case it is nobler and finer than the vicious cleverness of rococo art.

我们已经看到希腊人如何平衡其建筑形式的直线与他们在寺庙上如此大量使用的雕塑的丰富线条。但平衡始终保持在方形一侧，而不是过度圆形一侧。正是在这一边，平衡似乎是最优秀的艺术。即使是最精细的曲线也是接近直线而不是圆的曲线，它们偏向于平坦度而不是圆度。

We have seen how the Greeks balanced the straight lines of their architectural forms with the rich lines of the sculpture which they used so lavishly on their temples. But the balance was always kept on the side of the square forms and never on the side of undue roundness. And it is on this side that the balance would seem to be in the finest art. Even the finest curves are those that approach the straight line rather than the circle, that err on the side of flatnesses rather than roundnesses.

关于直线和曲线的平衡所说的同样适用于色调，如果对于直线你用平坦的色调代替，而对于曲线则用渐变的色调。更深层次、更持久的事物可以通过更宽广、更平坦的色调来表达，而过多的渐变即使不是邪恶造型的粗糙圆度，也会带来漂亮的效果。

What has been said about the balance of straight lines and curves applies equally well to tones, if for straight lines you substitute flat tones, and for curved lines gradated tones. The deeper, more permanent things find expression in the wider, flatter tones, while an excess of gradations makes for prettiness, if not for the gross roundnesses of vicious modelling.

通常，当一张照片无可救药地失灵并且“一团糟”时，正如他们在工作室里所说的那样，通过将其减少到平坦色调的基础，检查它并绘制出渐变，它可以再次走上正确的道路，将其回归到一个更简单的方程式，从中可以更容易地看到完成任务的正确道路。过度关注较小模型的渐变是图片和绘图失灵的一个常见原因。一般来说，您可以用来表达造型的色调值消耗越少越好。最好的作品中的平衡通常是在平淡色调方面，而不是在渐变色调方面。那些在渐变方面犯错的作品，比如格勒兹的作品，无论它的吸引力有多么受欢迎，都比那些在色调平坦方面犯错的作品要糟糕得多，比如乔托和意大利原始派，或者现代派中的普维·德·沙凡纳。

Often when a picture is hopelessly out of gear and “mucked up,” as they say in the studio, it can be got on the right road again by reducing it to a basis of flat tones, going over it and painting out the gradations, getting it back to a simpler equation from which the right road to completion can be more readily seen. Overmuch concern with the gradations of the smaller modelling is a very common reason of pictures and drawings getting out of gear. The less expenditure of tone values you can express your modelling with, the better, as a general rule. The balance in the finest work is usually on the side of flat tones rather than on the side of gradated tones. Work that errs on the side of gradations, like that of Greuze, however popular its appeal, is much poorer stuff than work that errs on the side of flatness in tone, like Giotto and the Italian primitives, or Puvis de Chavannes among the moderns.

在色调的明暗、黑白之间也建立了色调的平衡。从中间色调开始，在光的方向上不会走得太远的图片，在黑暗的方向上也不应该走得太远。在这方面，请注意惠斯勒的照片，他是一位色调方面的大师。他的灯光很少接近白色，而另一方面，他的黑暗色调从来没有接近黑色。当最高的灯光色调较低时，最暗的黑暗色调应该较高。像伦勃朗这样的画家，他们的画在高光下一定接近于白色，在黑暗中也接近黑色，而接近我们这个时代，弗兰克·霍尔强迫他的画的白色非常高，相应地，黑暗也非常重。当这种平衡得以保持时，人们会本能地感受到它的正确性。我们并不是说图片中浅色调的数量应该与暗色调的数量相平衡，而是说图片色调方案中使用的极端明暗之间应该存在某种平衡。我认为，旧的规则是，一幅画应该是三分之二亮，三分之一暗。但我认为这里没有任何规则可循：有太多例外，并且没有提到半色调。

There is a balance of tone set up also between light and dark, between black and white in the scale of tone. Pictures that do not go far in the direction of light, starting from a middle tone, should not go far in the direction of dark either. In this respect note the pictures of Whistler, a great master in matters of tone; his lights seldom approach anywhere near white, and, on the other hand, his darks never approach black in tone. When the highest lights are low in tone, the darkest darks should be high in tone. Painters like Rembrandt, whose pictures when fresh must have approached very near white in the high lights, also approach black in the darks, and nearer our own time, Frank Holl forced the whites of his pictures very high and correspondingly the darks were very heavy. And when this balance is kept there is a rightness about it that is instinctively felt. We do not mean that the amount of light tones in a picture should be balanced by the amount of dark tones, but that there should be some balance between the extremes of light and dark used in the tone scheme of a picture. The old rule was, I believe, that a picture should be two-thirds light and one-third dark. But I do not think there is any rule to be observed here: there are too many exceptions, and no mention is made of half tones.

就像所有所谓的艺术法则一样，这条规则也有许多明显的例外。有一张白色的图片，其中所有的色调都是高的。但在其中一些最成功的作品中，您通常会发现深黑色颜料的斑点。透纳后期很喜欢这些浅色的画面，但他通常会加入一些暗点，比如他的一些威尼斯画中的黑色贡多拉，它说明了我们所说的平衡法则，而且通常会加入过多的黑点。画面的其余部分过亮，比例较暗。

Like all so-called laws in art, this rule is capable of many apparent exceptions. There is the white picture in which all the tones are high. But in some of the most successful of these you will generally find spots of intensely dark pigment. Turner was fond of these light pictures in his later manner, but he usually put in some dark spot, such as the black gondolas in some of his Venetian pictures, that illustrate the law of balance we are speaking of, and are usually put in excessively dark in proportion as the rest of the picture is excessively light.

成功的单色调画一般都是用中间色调来画的，因此并不违背我们的平衡原则。

The successful one-tone pictures are generally painted in the middle tones, and thus do not in any way contradict our principle of balance.

在这一点上，人们很想稍微进入色彩领域，在这里我们可以感受到我们正在谈论的平衡原则，这里的尺度介于暖色和冷色之间。如果将太阳光谱大致分成两半，一侧是红色、橙色和黄色，另一侧是紫色、蓝色和绿色，前者大致是暖色，后者是冷色。巧妙地运用冷暖色的对比，是赋予色彩活力的主要手段之一。但这里要注意的一点是，你的颜色越朝着温暖的方向走，就越需要朝相反的方向走得更远，以纠正平衡。这就是像提香这样热爱温暖、明亮、金色的画家经常不得不在他们的画中加入大量最冷的蓝色的原因。庚斯博罗的《蓝色男孩》虽然违背了雷诺兹的原则，但并不违反我们的规则，因为尽管男孩穿着蓝色衣服，但画面的其余部分都是暖棕色，因此保持了平衡。正是由于未能遵守这种平衡，我们展览中的许多红衣猎人和士兵肖像才如此令人反感。它们常常被画在黑暗、炎热、烧焦的赭色和黑色背景上，只有肉色的暖色等等，结果是令人难以忍受的酷热。图片中有一团热红色，就像猎人的外套一样，所以应该在其他地方寻找最酷的颜色。在十一月的风景中，猎人的外套看起来多么漂亮，但风景的颜色是多么寒冷和灰色。正确的做法是用尽可能多的冷色调和中性色调来支持红色，并避免使用热阴影。由于红色如此强烈，蓝色可能会形成太大的对比，除非你的画布足够大，允许在距红色一定距离处引入蓝色。

One is tempted at this point to wander a little into the province of colour, where the principle of balance of which we are speaking is much felt, the scale here being between warm and cold colours. If you divide the solar spectrum roughly into half, you will have the reds, oranges, and yellows on one side, and the purples, blues, and greens on the other, the former being roughly the warm and the latter the cold colours. The clever manipulation of the opposition between these warm and cold colours is one of the chief means used in giving vitality to colouring. But the point to notice here is that the further your colouring goes in the direction of warmth, the further it will be necessary to go in the opposite direction, to right the balance. That is how it comes about that painters like Titian, who loved a warm, glowing, golden colouring, so often had to put a mass of the coldest blue in their pictures. Gainsborough’s “Blue Boy,” although done in defiance of Reynolds’ principle, is no contradiction of our rule, for although the boy has a blue dress all the rest of the picture is warm brown and so the balance is kept. It is the failure to observe this balance that makes so many of the red-coated huntsmen and soldiers’ portraits in our exhibitions so objectionable. They are too often painted on a dark, hot, burnt sienna and black background, with nothing but warm colours in the flesh, &c., with the result that the screaming heat is intolerable. With a hot mass of red like a huntsman’s coat in your picture, the coolest colour should be looked for everywhere else. Seen in a November landscape, how well a huntsman’s coat looks, but then, how cold and grey is the colouring of the landscape. The right thing to do is to support your red with as many cool and neutral tones as possible and avoid hot shadows. With so strong a red, blue might be too much of a contrast, unless your canvas was large enough to admit of its being introduced at some distance from the red.

当然，大多数画家都满足于保持中间路线，而不会在温暖或寒冷的方向上走得太远。毫无疑问，这里可以有更多的行动自由，尽管结果可能不那么强大。但是，当需要美丽和精致的情感而不是力量时，中间范围的颜色（也就是说，所有颜色通过与相反的混合而部分中和）就安全得多。

Most painters, of course, are content to keep to middle courses, never going very far in the warm or cold directions. And, undoubtedly, much more freedom of action is possible here, although the results may not be so powerful. But when beauty and refinement of sentiment rather than force are desired, the middle range of colouring (that is to say, all colours partly neutralised by admixture with their opposites) is much safer.

还有另一种形式的平衡必须提及，尽管它更多地与艺术主题相关，因为它涉及物体的精神意义，而不是线条和质量所具有的节奏品质；我指的是利益和大众之间的平衡。人物形象的全部吸引力使得它在规模相当小的情况下常常平衡了巨大质量的重量和兴趣。图二十七是其含义的一个粗略实例。如果没有这个小人物，构图就会失去平衡。但集中在那个孤独的小人物身上的兴趣足以纠正左边大片树木所造成的平衡。风景画家主要以这种方式使用人物，对于恢复画面的平衡非常有用。

There is another form of balance that must be mentioned, although it is connected more with the subject matter of art, as it concerns the mental significance of objects rather than the rhythmic qualities possessed by lines and masses; I refer to the balance there is between interest and mass. The all-absorbing interest of the human figure makes it often when quite minute in scale balance the weight and interest of a great mass. Diagram XXVII is a rough instance of what is meant. Without the little figure the composition would be out of balance. But the weight of interest centred upon that lonely little person is enough to right the balance occasioned by the great mass of trees on the left. Figures are largely used by landscape painters in this way, and are of great use in restoring balance in a picture.

图二十七

Diagram XXVII

说明利益如何平衡质量

ILLUSTRATING HOW INTEREST MAY BALANCE MASS

最后，必须在多样性和统一性之间取得平衡。关于这一点，已经说了很多了，这里只需要重述一下，多样性是由于所有如画的表达、生命的欢乐能量以及所有使世界变得如此令人愉快的地方而产生的，但是统一属于这种多样性与在自然和所有优秀艺术中支持它的基本原则的联系。这将取决于艺术家的本质和他的主题的本质，这种潜在的统一将在多大程度上主导他的作品的表达；以及它将在多远的范围内覆盖和隐藏在丰富多样的服装后面。

And lastly, there must be a balance struck between variety and unity. A great deal has already been said about this, and it will only be necessary to recapitulate here that to variety is due all the expression of the picturesque, of the joyous energy of life, and all that makes the world such a delightful place, but that to unity belongs the relating of this variety to the underlying bed-rock principles that support it in nature and in all good art. It will depend on the nature of the artist and on the nature of his theme how far this underlying unity will dominate the expression in his work; and how far it will be overlaid and hidden behind a rich garment of variety.

但这两种想法都必须在他的作品中得到考虑。如果他的观念的统一性完全排除了多样性，那么就会导致一种死的抽象；如果不允许多样性受到统一性的任何限制性影响，那么它将发展成一种放纵的奢侈。

But both ideas must be considered in his work. If the unity of his conception is allowed to exclude variety entirely, it will result in a dead abstraction, and if the variety is to be allowed none of the restraining influences of unity, it will develop into a riotous extravagance.

十六

XVI

节奏：比例

RHYTHM: PROPORTION

旨在将美丽物体中感动我们的事物简化为数学公式的规则和比例准则并没有取得巨大成功；美丽的事物总是经不起如此笨拙的分析。但是，无论比例之美一定是艺术家更精细的感觉的结果，这一点确实是正确的，比例的准则，例如人体的准则，可能通过提供一些标准来为艺术家服务。他可以按照自己的艺术本能来离开。毫无疑问，古代雕塑家使用了一些这样的系统。许多文艺复兴时期的画家都对这个主题感兴趣，列奥纳多·达·芬奇在他的书中对此有很多话要说。

RULES and canons of proportion designed to reduce to a mathematical formula the things that move us in beautiful objects, have not been a great success; the beautiful will always defy such clumsy analysis. But however true it is that beauty of proportion must ever be the result of the finer senses of the artist, it is possible that canons of proportion, such as those of the human body, may be of service to the artist by offering some standard from which he can depart at the dictates of his artistic instinct. There appears to be no doubt that the ancient sculptors used some such system. And many of the renaissance painters were interested in the subject, Leonardo da Vinci having much to say about it in his book.

就像艺术中的所有科学知识一样，它无法捕捉到整个事物的生命本质、难以捉摸的东西，但这种科学知识确实有助于将一个人的作品提升到机械完美的高度，从而使一个人的艺术本能得以翱翔。与在最初的建设中没有使用科学脚手架相比，成功的机会更大。然而，无论你的系统多么完美，不要忘记，仍然需要考虑生命、“抖动”，而且没有任何科学可以帮助你。

Like all scientific knowledge in art, it fails to trap the elusive something that is the vital essence of the whole matter, but such scientific knowledge does help to bring one’s work up to a high point of mechanical perfection, from which one’s artistic instinct can soar with a better chance of success than if no scientific scaffolding had been used in the initial building up. Yet, however perfect your system, don’t forget that the life, the “dither,” will still have to be accounted for, and no science will help you here.

某些数学比例或关系是我们称之为美的现象的基础，这种想法非常古老，而且太深奥了，无法在这里困扰我们。但毫无疑问，比例，即各部分之间以及与整体之间的数量关系，在艺术作品和物体给我们的印象中构成了非常重要的部分，并且应该成为您在规划作品时最要考虑的主题。这些量的数学关系一直是令学者们着迷的课题，他们煞费苦心地精确测量古董雕像，以寻找其魅力的秘密。科学通过证明不同长度的波产生不同的声音和不同的颜色，因此可以用数字来表达不同的颜色和声音，这无疑为对与数学。如果这样的调查正在进行或已经进行，其结果将会引起人们的极大兴趣。

The idea that certain mathematical proportions or relationships underlie the phenomena we call beauty is very ancient, and too abstruse to trouble us here. But undoubtedly proportion, the quantitative relation of the parts to each other and to the whole, forms a very important part in the impression works of art and objects give us, and should be a subject of the greatest consideration in planning your work. The mathematical relationship of these quantities is a subject that has always fascinated scholars, who have measured the antique statues accurately and painstakingly to find the secret of their charm. Science, by showing that different sounds and different colours are produced by waves of different lengths, and that therefore different colours and sounds can be expressed in terms of numbers, has certainly opened the door to a new consideration of this subject of beauty in relation to mathematics. And the result of such an inquiry, if it is being or has been carried on, will be of much interest.

但一系列死去的人物让艺术家感到不寒而栗，因为他意识到整个事物的生命永远不会被这种机械手段所捕捉。

But there is something chilling to the artist in an array of dead figures, for he has a consciousness that the life of the whole matter will never be captured by such mechanical means.

我们在这里有兴趣问的问题是：是否存在与数量及其比例的不同关系相关的特殊情感，正如我们发现与线条和质量的不同排列相关的那样？抽象的比例在艺术中是否有任何意义，就像我们发现抽象的线条和质量安排一样？这是一件很难确定的事情，我只能给出我自己的感觉；但我认为在某种程度上他们做到了。

The question we are interested to ask here is: are there particular sentiments connected with the different relations of quantities, their proportions, as we found there were in connection with different arrangements of lines and masses? Have abstract proportions any significance in art, as we found abstract line and mass arrangements had? It is a difficult thing to be definite about, and I can only give my own feeling on the matter; but I think in some degree they have.

比例可以从统一性和多样性两个角度来考虑。只要任何图片或物体的比例分解成一种简单、容易掌握的关系统一体，就会产生一种宁静和崇高的感觉。由于不同部分的比例变化非常明显，并且妨碍了眼睛将布局视为一个简单的整体，因此产生了一种生命和活动的活泼不安的感觉。换句话说，正如我们在线条排列中发现的那样，统一产生崇高，而变化则产生生命的表达。当然，物体的大小与此有关。也就是说，即使是比例最庄严的狗舍也无法给我们带来像一座伟大的寺庙那样庄严的印象。在绘画中，作品的比例并不是那么重要，一幅画或图画有能力在小比例上给人以大尺寸的印象。

Proportion can be considered from our two points of view of unity and variety. In so far as the proportions of any picture or object resolve themselves into a simple, easily grasped unity of relationship, a sense of repose and sublimity is produced. In so far as the variety of proportion in the different parts is assertive and prevents the eye grasping the arrangement as a simple whole, a sense of the lively restlessness of life and activity is produced. In other words, as we found in line arrangements, unity makes for sublimity, while variety makes for the expression of life. Of course the scale of the object will have something to do with this. That is to say, the most sublimely proportioned dog-kennel could never give us the impression of sublimity produced by a great temple. In pictures the scale of the work is not of so great importance, a painting or drawing having the power of giving the impression of great size on a small scale.

最容易掌握的比例是一半——两等份。这是最缺乏多样性的，因此也是最缺乏生活的，只有当需要一种极大的休息和远离生活的效果时才使用。即便如此，在次要部分中也永远不会没有一些变化来赋予活力。第三个和四分之一，以及事实上任何相等的比例，都是其他容易掌握的，并且与一半具有较小程度的相同品质。因此，除非在极少数情况下需要远离自然和生命的效果，否则应避免比例相等。大自然似乎厌恶平等，如果可以的话，它永远不会让两个东西相同或比例相同。所有建立在平等基础上的制度，就像许多现代社会改革制度一样，都是人类的工作，是机器制造时代的产物。因为这就是自然和机器之间的区别：自然永远不会产生两种相同的东西，机器永远不会产生两种不同的东西。如果你能生产出等量的单位，人类明天就能解决社会问题。但如果人人都一样、平等，那生存的生命和乐趣在哪里呢？它会随着品种的变化而变化。就比例而言，就像在生活中一样，多样性是活力的秘密，只有在需要静态效果时才会被抑制。在建筑中，比例平等更常见，因为静止的静态品质在这里比绘画中更重要。人们在所有精美的建筑中都会遇到这种情况，比如一排排大小和距离相等的柱子和窗户，或者在造型中不断重复相同的形式，等等。但即使在这里，在最好的作品中，也允许一些变化来防止效果完全消失，希腊山形墙外侧的柱子靠得更近，并稍微向内倾斜，窗户、柱子和装饰线条的重复形式其本身是无限变化的。但是，尽管你经常在建筑中发现相同形式的等距重复，但在大规模的主要分布中却很少观察到比例相等。

The proportion that is most easily grasped is the half—two equal parts. This is the most devoid of variety, and therefore of life, and is only used when an effect of great repose and aloofness from life is wanted; and even then, never without some variety in the minor parts to give vitality. The third and the quarter, and in fact any equal proportions, are others that are easily grasped and partake in a lesser degree of the same qualities as the half. So that equality of proportion should be avoided except on those rare occasions when effects remote from nature and life are desired. Nature seems to abhor equalities, never making two things alike or the same proportion if she can help it. All systems founded on equalities, as are so many modern systems of social reform, are man’s work, the products of a machine-made age. For this is the difference between nature and the machine: nature never produces two things alike, the machine never produces two things different. Man could solve the social problem to-morrow if you could produce him equal units. But if all men were alike and equal, where would be the life and fun of existence? it would depart with the variety. And in proportion, as in life, variety is the secret of vitality, only to be suppressed where a static effect is wanted. In architecture equality of proportion is more often met with, as the static qualities of repose are of more importance here than in painting. One meets it on all fine buildings in such things as rows of columns and windows of equal size and distances apart, or the continual repetition of the same forms in mouldings, &c. But even here, in the best work, some variety is allowed to keep the effect from being quite dead, the columns on the outside of a Greek pediment being nearer together and leaning slightly inwards, and the repeated forms of windows, columns, and mouldings being infinitely varied in themselves. But although you often find repetitions of the same forms equidistant in architecture, it is seldom that equality of proportion is observable in the main distribution of the large masses.

让我们采用简单的构图类型，在图二十八，A 中，将地平线放在中心，并用一根立柱将其切割在图片的中间。让我们介绍两个可能指示两侧上部空间中鸟类位置的点。

Let us take our simple type of composition, and in Diagram XXVIII, A, put the horizon across the centre and an upright post cutting it in the middle of the picture. And let us introduce two spots that may indicate the position of birds in the upper spaces on either side of this.

在这里，我们拥有最大程度的平等以及最死板和最静态的结果。

Here we have a maximum of equality and the deadest and most static of results.

为了正确地看到这些图表，有必要用一些信纸覆盖除所考虑的那张之外的所有图表，因为当它们一起看时，它们会相互影响，并且它们的比例质量不太容易观察到。

To see these diagrams properly it is necessary to cover over with some pieces of notepaper all but the one being considered, as they affect each other when seen together, and the quality of their proportion is not so readily observed.

XLVIII 板

Plate XLVIII

照片 汉夫斯坦格尔

Photo Hanfstaengl

安德代麦当娜。拉斐尔创作（国家美术馆）

THE ANSIDEI MADONNA. BY RAPHAEL (NATIONAL GALLERY)

构图中静态平衡的典型例子。

A typical example of static balance in composition.

在许多圣母玛利亚的画作中，当人们想要一种安静和崇敬而不是繁盛的生活时，人物就会被放在画布的中央，她两侧的空间之间存在着平等的比例。但是，在获得这种集中所带来的休息之后，我们会尽一切努力来掩盖这种平等，并且仔细寻找两侧轮廓以及任何可能存在的图形的变化。国家美术馆中的拉斐尔的《Ansidei Madonna》就是一个例子（第 230 页）。首先，圣母像和她所坐的宝座集中在画面中央。宝座不仅位于画面的中央，而且它的宽度也恰好等于其两侧空间的宽度，使整个画面呈现出三个相等的比例。然后是后面的拱门的圆形线条，曲线具有尽可能少的变化，因此是最平静和最安宁的；而台阶的水平线条、宝座和建筑的垂直线条，以及一排排悬挂的珠子，进一步强调了这种无限的平静。但当我们看到这些数字时，这种对称性在各地都是不同的。所有的头都向右摆动，而窗帘的线条则向多个方向自由摆动。头部向右摆动是平衡的，并且在右侧圣尼古拉斯工作人员的强烈要求下，眼睛也恢复了平衡。圣约翰的工作人员有必要在某种程度上平衡这条线，但稍微坚持，将其呈现为透明的，仿佛由玻璃制成，以免增加头部引起的向右摆动。有趣的是，注意到最后一刻在右下角引入的水果，可以说是为了恢复左边基督形象所造成的平衡。以作者的拙见，平衡线条的极其明显的技巧，以及这种构图惯例的严格性，与自然主义细节的数量，特别是在处理人物和人物时所允许的可靠性不相协调。配件。早期人们的作品中对视觉本质的少量真实与此类作品的形式相得益彰。由于他们对自然现象的处理很少有生命的多样性，因此人们不会在安排中要求如此多的生命的多样性。早期意大利画派作品中的简单性和远离自然外观的全部效果，使得他们的绘画成为表达宗教主题的现成媒介。这种超凡脱俗的氛围，线条和色彩的音乐不受真实事物的任何侵略性外观的干扰，是表达此类想法和情感的更好惯例。

In many pictures of the Madonna, when a hush and reverence are desired rather than exuberant life, the figure is put in the centre of the canvas, equality of proportion existing between the spaces on either side of her. But having got the repose this centralisation gives, everything is done to conceal this equality, and variety in the contours on either side, and in any figures there may be, is carefully sought. Raphael’s “Ansidei Madonna,” in the National Gallery, is an instance of this (p. 230). You have first the centralisation of the figure of the Madonna with the throne on which she sits, exactly in the middle of the picture. Not only is the throne in the centre of the picture, but its width is exactly that of the spaces on either side of it, giving us three equal proportions across the picture. Then you have the circular lines of the arches behind, curves possessed of the least possible amount of variety and therefore the calmest and most reposeful; while the horizontal lines of the steps and the vertical lines of the throne and architecture, and also the rows of hanging beads give further emphasis to this infinity of calm. But when we come to the figures this symmetry has been varied everywhere. All the heads swing towards the right, while the lines of the draperies swing freely in many directions. The swing of the heads towards the right is balanced and the eye brought back to equilibrium by the strongly-insisted-upon staff of St. Nicholas on the right. The staff of St. John necessary to balance this line somewhat, is very slightly insisted on, being represented transparent as if made of glass, so as not to increase the swing to the right occasioned by the heads. It is interesting to note the fruit introduced at the last moment in the right-hand lower corner, dragged in, as it were, to restore the balance occasioned by the figure of the Christ being on the left. In the writer’s humble opinion the extremely obvious artifice with which the lines have been balanced, and the severity of the convention of this composition generally, are out of harmony with the amount of naturalistic detail and particularly of solidity allowed in the treatment of the figures and accessories. The small amount of truth to visual nature in the work of earlier men went better with the formality of such compositions. With so little of the variety of life in their treatment of natural appearances, one was not led to demand so much of the variety of life in the arrangement. It is the simplicity and remoteness from the full effect of natural appearances in the work of the early Italian schools that made their painting such a ready medium for the expression of religious subjects. This atmosphere of other-worldliness where the music of line and colour was uninterrupted by any aggressive look of real things is a better convention for the expression of such ideas and emotions.

图二十八 (1)

Diagram XXVIII (1)

图二十八 (2)

Diagram XXVIII (2)

图二十八 (3)

Diagram XXVIII (3)

B 和 C 中显示了三分之一和四分之一的比例，产生与一半相同的静态效果，尽管不那么完全。

In B and C the proportions of the third and the quarter are shown, producing the same static effect as the half, although not so completely.

在 D、E、F 处使用了与 A、B、C 处相同数量的线和点，但尺寸和位置不同，因此它们没有明显的机械关系。其结果是表达出更多的生命和个性。

At D, E, F the same number of lines and spots as we have at A, B, C have been used, but varied as to size and position, so that they have no obvious mechanical relationship. The result is an expression of much more life and character.

在 G、II、I 处添加了更多线条和点。在 G 处，它们是等距的，并且由于缺乏多样性而死板，而在 H 和 I 处，它们的变化程度使眼睛无法抓住它们之间的任何明显关系。因此，它们具有与 A、B、C 或 G 截然不同的活力和活力外观。可以观察到，随着多样性的增加，印象的活力和活力也随之增加。

At G, II, I more lines and spots have been added. At G they are equidistant and dead from lack of variety, while at H and I they are varied to a degree that prevents the eye grasping any obvious relationship between them. They have consequently a look of liveliness and life very different from A, B, C, or G. It will be observed that as the amount of variety increases so does the life and liveliness of the impression.

在这些图中，由于我们的线条仅是垂直和水平的，因此始终保持某种静态效果，正如我们在前面的章节中看到的那样，这些线条是我们所拥有的最平静的。但尽管如此，我认为由于比例变化而增加的寿命在图表中足够明显，足以证明我们希望提出的观点。

In these diagrams a certain static effect is kept up throughout, on account of our lines being vertical and horizontal only, which lines, as we saw in an earlier chapter, are the calmest we have. But despite this, I think the added life due to the variety in the proportions is sufficiently apparent in the diagrams to prove the point we wish to make.

与拉斐尔《圣母》的无限平静形成对比，我们在米兰布雷拉画廊复制了丁托列托的《寻找圣马可的尸体》。这里充满了生命和运动。比例是无限变化的，肉眼无法捕捉到任何明显的数学关系。我们有与拉斐尔的半圆形拱门相同的半圆形拱门，但不是对称放置的，它们的线条到处都有变化，它们周围闪烁的灯光破坏了它们平静的效果。请注意，建筑的线条和画面中央跪着的人物的手臂线条汇聚在这只手上，并立即引导眼睛看到左侧使徒强有力的人物伸出的手。它。这里不存在静态对称，一切都是能量和力。从这个引人注目的手臂开始，视线被引导到圣马可的雄伟人物，经过躺着的人物，并通过地面上的光带穿过画面，到达右侧重要的一组受惊的人物。从他们开始，到那些正在从坟墓中抬出尸体的人物。或者，沿着圣马可伸出的手臂的方向，我们被建筑的线条直接引导到这一组，然后通过右侧的组和地面上的光带再次返回。这些数量并没有像拉斐尔的作品那样在画布上保持安静的对称性，而是明显地从引导眼睛围绕画面的线条中随意地脱离。还要注意强烈对比的光影所带来的戏剧性强度，以及丁托列托如何享受两个人物拿着灯光看着坟墓的奇怪效果，他们的影子投在他们打开的盖子上，在坟墓的远端。房间。这在当时一定是一种令人惊叹的现实主义新作品，并且被巧妙地运用，为房间黑暗的一端带来了一种怪异的效果。丁托列托有着无限的精力和对生活的充分享受，他的作品自然表现出强烈的多样性倾向，他令人惊叹的作品是一种通识教育，可以用无数种意想不到的方式来填充一个面板，值得学生仔细研究。

As a contrast to the infinite calm of Raphael’s “ Madonna,” we have reproduced Tintoretto’s “Finding of the Body of St. Mark,” in the Brera Gallery, Milan. Here all is life and movement. The proportions are infinitely varied, nowhere does the eye grasp any obvious mathematical relationship. We have the same semi-circular arches as in the Raphael, but not symmetrically placed, and their lines everywhere varied, and their calm effect destroyed by the flickering lights playing about them. Note the great emphasis given to the outstretched hand of the powerful figure of the Apostle on the left by the lines of the architecture and the line of arm of the kneeling figure in the centre of the picture converging on this hand and leading the eye immediately to it. There is here no static symmetry, all is energy and force. Starting with this arresting arm, the eye is led down the majestic figure of St. Mark, past the recumbent figure, and across the picture by means of the band of light on the ground, to the important group of frightened figures on the right. And from them on to the figures engaged in lowering a corpse from its tomb. Or, following the direction of the outstretched arm of St. Mark, we are led by the lines of the architecture to this group straight away, and back again by means of the group on the right and the band of light on the ground. The quantities are not placed in reposeful symmetry about the canvas, as was the case in the Raphael, but are thrown off apparently haphazard from lines leading the eye round the picture. Note also the dramatic intensity given by the strongly contrasted light and shade, and how Tintoretto has enjoyed the weird effect of the two figures looking into a tomb with a light, their shadows being thrown on the lid they hold open, at the far end of the room. This must have been an amazingly new piece of realism at the time, and is wonderfully used, to give an eerie effect to the darkened end of the room. With his boundless energy and full enjoyment of life, Tintoretto’s work naturally shows a strong leaning towards variety, and his amazing compositions are a liberal education in the innumerable and unexpected ways in which a panel can be filled, and should be carefully studied by students.

XLIX 板

Plate XLIX

照片安德森

Photo Anderson

圣约翰尸体的发现 马克

·丁托雷托（布雷拉，米兰）

THE FINDING OF THE BODY OF ST. MARK

TINTORETTO (BRERA. MILAN)

与拉斐尔的《Ansidei Madonna》进行比较，并注意

在这幅作品的平衡中，能量和运动如何取代静态的平静。

Compare with Raphael’s Ansidei Madonna, and note how energy and movement take

the place of static calm in the balance of this composition.

在自然界和艺术中经常出现的令人愉悦的比例可以用数字粗略地表示为5到8之间。在这样的比例中，肉眼看不到任何数学关系。如果小于5，就太接近4比8（或总长度的三分之一）的比例，是一个呆板的比例；或者如果更多，则比例将过于接近均等而无法令人满意。

A pleasing proportion that often occurs in nature and art is one that may be roughly stated in figures as that between 5 and 8. In such a proportion the eye sees no mathematical relationship. Were it less than 5, it would be too near the proportion of 4 to 8 (or one-third the total length), a dull proportion; or were it more, it would be approaching too near equality of proportion to be quite satisfactory.

我见过德国进口的比例罗盘，给出了与此类似的关系，据说包含了良好比例的秘密。它确实有一些值得注意的地方，在第 289 页的附录中，您会发现一些关于此的进一步有趣的事实。

I have seen a proportional compass, imported from Germany, giving a relationship similar to this and said to contain the secret of good proportion. There is certainly something remarkable about it, and in the Appendix, page 289, you will find some further interesting facts about this.

一座建筑、一幅画或一件雕塑的各种比例应该始终受到一些简单的、占主导地位的数量的控制，这些数量简化了外观并赋予其易于掌握的统一性，除非存在暴力和缺乏休息的地方通缉。比例越简单，给人的印象越庄严，越复杂，效果越生动活泼。从一些精心挑选的大比例品种中，眼睛可能会被引导去欣赏较小的品种。但在适当的比例下，较小的部分不允许突兀，而是服从于效果的统一所依赖的主要配置。

The variety of proportions in a building, a picture, or a piece of sculpture should always be under the control of a few simple, dominant quantities that simplify the appearance and give it a unity which is readily grasped except where violence and lack of repose are wanted. The simpler the proportion is, the more sublime will be the impression, and the more complicated, the livelier and more vivacious the effect. From a few well-chosen large proportions the eye may be led on to enjoy the smaller varieties. But in good proportion the lesser parts are not allowed to obtrude, but are kept in subordination to the main dispositions on which the unity of the effect depends.

十七

XVII

肖像画

PORTRAIT DRAWING

每个人身上都有一些东西很可能在很长一段时间内无法经受科学分析。当你总结了原子、电子或任何构成组织的物质的总量以及不同部分所执行的无数复杂功能时，你还没有了解控制整个组织的个体的轨迹。表现。这种个性对外在形式的影响，以及它对改变身体和五官方面的影响，是肖像画师所关心的事情：抓住并有力地表达被画者的个性，正如他所表达的那样。外观。

THERE is something in every individual that is likely for a long time to defy the analysis of science. When you have summed up the total of atoms or electrons or whatever it is that goes to the making of the tissues and also the innumerable complex functions performed by the different parts, you have not yet got on the track of the individual that governs the whole performance. The effect of this personality on the outward form, and the influence it has in modifying the aspect of body and features, are the things that concern the portrait draughtsman : the seizing on and expressing forcefully the individual character of the sitter, as expressed by his outward appearance.

这种形式上的人物表达被认为有点与美相悖，许多模特都对自己的特征感到害羞。时尚摄影师知道这一点，就会小心翼翼地从底片上画出任何引人注目的特征，比如底片上可能显示出的拍摄者的形象。但从结果来看，是否获得了美感值得怀疑，并且可以肯定的是，过程中失去了兴趣和活力。无论美的本质是什么，很明显，使一个物体比另一个物体更美的因素是该物体的外观特征，而不是另一个物体的外观特征：因此，对个体特征的一些仔细研究必须是研究的目的。寻求表达美的艺术家，以及寻求表达性格但声称对美不感兴趣的艺术家。

This character expression in form has been thought to be somewhat antagonistic to beauty, and many sitters are shy of the particular characteristics of their own features. The fashionable photographer, knowing this, carefully stipples out of his negative any striking characteristics in the form of his sitter the negative may show. But judging by the result, it is doubtful whether any beauty has been gained, and certain that interest and vitality have been lost in the process. Whatever may be the nature of beauty, it is obvious that what makes one object more beautiful than another is something that is characteristic of the appearance of the one and not of the other: so that some close study of individual characteristics must be the aim of the artist who would seek to express beauty, as well as the artist who seeks the expression of character and professes no interest in beauty.

所谓捕捉相似，就是抓住只属于某个特定个体的本质特征，并将该个体与其他个体区别开来，并以有力的方式表达出来。有些东西是整个物种共有的，与共同类型相似；个体的相似性不是朝这个方向，而是朝相反的方向。

Catching the likeness, as it is called, is simply seizing on the essential things that belong only to a particular individual and differentiate that individual from others, and expressing them in a forceful manner. There are certain things that are common to the whole species, likeness to a common type; the individual likeness is not in this direction but at the opposite pole to it.

这是与人类眼睛所拥有的惊人微妙的欣赏能力有关的最引人注目的事情之一，世界上数以百万计的人的眼睛，并且可能在世界上曾经存在的所有事物中，没有两个看起来完全相同。当人们考虑到他们是多么相似，而他们之间的差异范围又是多么有限时，人们的眼睛能如此迅速地将一个人与另一个人区分开来，这不是很值得注意吗？更值得注意的是，有时人们会认出一位多年不见的朋友，而他的外貌在此期间已经发生了很大的变化。我们所认识到的这种相似性与其说是普遍认为的，不如说是个体特征的问题。如果只看到眼睛，而脸部的其余部分被遮住，那么几乎不可能认出哪怕是一位熟悉的朋友，也几乎不可能辨别出脸上的表情是笑还是哭。再说一次，当眼睛被遮住并且只能看到脸部的下半部分时，要认出任何人是多么困难。

It is one of the most remarkable things connected with the amazing subtlety of appreciation possessed by the human eye, that of the millions of heads in the world, and probably of all that have ever existed in the world, no two look exactly alike. When one considers how alike they are, and how very restricted is the range of difference between them, is it not remarkable how quickly the eye recognises one person from another? It is more remarkable still how one sometimes recognises a friend not seen for many years, and whose appearance has changed considerably in the meantime. And this likeness that we recognise is not so much as is generally thought a matter of the individual features. If one sees the eye alone, the remainder of the face being covered, it is almost impossible to recognise even a well-known friend, or tell whether the expression is that of laughing or crying. And again, how difficult it is to recognise anybody when the eyes are masked and only the lower part of the face visible.

板 L

Plate L

摘自

大英博物馆印刷室霍尔拜因的红粉笔画作

FROM A DRAWING IN RED CHALK BY HOLBEIN IN

THE BRITISH MUSEUM PRINT ROOM

注意如何寻求每一点的变化，眼睛和

嘴巴两侧的差异等

Note how every bit of variety is sought for, the difference in the eyes and on

either side of the mouth, etc

李柏拉图

Plato LI

查尔斯·迪尔克爵士，巴特。

SIR CHARLES DILKE, BART.

来自国会议员沃尔特·埃塞克斯爵士收藏的绘画，用红色粉笔

擦拭，用橡胶挑出高光。

From the drawing in the collection of Sir Walter Essex, M.P., in red conté chalk

rubbed, the high lights being picked out with rubber.

如果你试图回忆起一个众所周知的头部，那么被记住的将不是特征的形状，而是印象，所有这些组合的结果，一种特征的和弦，而是组成元素。正是不同部分与这个和弦的关系，即头部个性的印象，才是通俗所说的“捕捉相似性”中最重要的事情。在绘制肖像时，思想必须集中于此，并且所有单独的部分都与之相关。当眼睛只对某个单独的部分感兴趣而忘记考虑它与整个印象的关系时，相似性就会受到影响。

If you try and recall a well-known head it will not be the shape of the features that will be recollected so much as an impression, the result of all these combined, a sort of chord of which the features will be but the component elements. It is the relation of the different parts to this chord, this impression of the personality of a head, that is the all-important thing in what is popularly called “catching the likeness.” In drawing a portrait the mind must be centred on this, and all the individual parts drawn in relation to it. The moment the eye gets interested solely in some individual part and forgets the consideration of its relationship to this whole impression, the likeness suffers.

如果头脑中存在如此多的相似之处，显然，如果要使头脑的个性变得有说服力，就必须找出并有力地抓住其中的差异。因此，肖像画的绘制应该从这些差异的方向来进行。也就是说，应该首先寻找你的主题在一般性情和比例上与普通类型不同的东西，而所有头脑共有的东西则留给他们自己照顾一下。其原因是，眼睛在新鲜时比使用一段时间后更容易看到这些差异。疲劳的眼睛倾向于看到较少的差异，并回想起暗淡的均匀性。因此，趁您的眼睛新鲜且视力敏锐时，立即了解重要的差异。

Where there is so much that is similar in heads, it is obvious that what differences there are must be searched out and seized upon forcefully, if the individuality of the head is to be made telling. The drawing of portraits should therefore be approached from the direction of these differences; that is to say, the things in general disposition and proportion in which your subject differs from a common type, should be first sought for, the things common to all heads being left to take care of themselves for a bit. The reason for this is that the eye, when fresh, sees these differences much more readily than after it has been working for some time. The tendency of a tired eye is to see less differentiation, and to hark back to a dull uniformity; so get in touch at once with the vital differences while your eye is fresh and your vision keen.

首先观察五官配置的特点，沿着想象的中心线记下眉毛、鼻根、嘴巴和下巴的比例，并获得轮廓线的形状特征脸被方形线条遮挡。尽早确定这些比例的重要性怎么强调都不为过，因为任何错误都可能导致以后必须完全改变精心绘制的特征。判断这一点的重要性可以从这样一个事实来判断：你在很远的地方就能认出一个头，除了周围的群众的一般性情之外，其他任何东西都看不到。头骨的形状也是需要尽早了解的另一件事，并且应该仔细注意它与面部的关系。但不可能为这些事情制定硬性规定。

Look out first for the character of the disposition of the features, note the proportions down an imagined centre line, of the brows, the base of the nose, the mouth and chin, and get the character of the shape of the enclosing line of the face blocked out in square lines. The great importance of getting these proportions right early cannot be over-emphasised, as any mistake may later on necessitate completely shifting a carefully drawn feature. And the importance of this may be judged from the fact that you recognise a head a long way off, before anything but the general disposition of the masses surrounding the features can be seen. The shape of the skull, too, is another thing of which to get an early idea, and its relation to the face should be carefully noted. But it is impossible to lay down hard and fast rules for these things.

有些艺术家从眼睛开始点画，有些艺术家直到最后才开始画眼睛。一些绘图员直到他们有眼睛调整头部周围，将其视为兴趣中心并相对于它绘制零件时，才会感到高兴。而其他人则说，有一定道理的是，当眼睛被吸引时，会产生一种催眠效果，使人看不到将头部视为某些关系中的线条和色调的冷血技术考虑；最好推迟到最后一刻，当你的绘画中代表形式的形状和色调应通过眼睛的引入而照亮活人的外观时。在引入这种令人不安的影响之前，人们可以更自由地考虑自己姿势的准确性。关于这一点，有很多话要说。

Some artists begin in point drawing with the eyes, and some leave the eyes until the very last. Some draughtsmen are never happy until they have an eye to adjust the head round, treating it as the centre of interest and drawing the parts relatively to it. While others say, with some truth, that there is a mesmeric effect produced when the eye is drawn that blinds one to the cold-blooded technical consideration of a head as line and tone in certain relationships; that it is as well to postpone until the last, that moment when the shapes and tones that represent form in your drawing shall be lit up by the introduction of the eye, to the look of a live person. One is freer to consider the accuracy of one’s form before this disturbing influence is introduced. And there is a good deal to be said for this.

虽然在点画中你可以从你感兴趣的任何部分开始，而不会产生严重的影响，但在布置一幅画时，我认为对于正确的方法不能有两种意见。首先必须建设群众的总体性格。如果这种总体阻挡做得很好，那么即使在早期阶段，画中人物的性格也会从一开始就显而易见。您可以通过是否显示原始内容来判断您的屏蔽的准确性。如果不正确，请在进一步进行之前纠正它，可以说，从远处看到的头部质量的总体印象开始，添加越来越多的细节，并逐渐使印象更接近，直到完成的头部已经到达，从而从一开始就与应该始终主导作品的相似性保持联系。

Although in point drawing you can, without serious effect, begin at any part that interests you, in setting out a painting I think there can be no two opinions as to the right way to go about it. The character of the general disposition of the masses must be first constructed. And if this general blocking in has been well done, the character of the sitter will be apparent from the first even in this early stage; and you will be able to judge of the accuracy of your blocking out by whether or not it does suggest the original. If it does not, correct it before going any further, working, as it were, from the general impression of the masses of the head as seen a long way off, adding more and more detail, and gradually bringing the impression nearer, until the completed head is arrived at, thus getting in touch from the very first with the likeness which should dominate the work all along.

可以从很多角度来描绘一幅肖像——我的意思是，心理观点。而且，就像传记一样，作品的价值将取决于作者或艺术家的洞察力和独特性。一位伟人的仆人可能会为他的主人写一本传记，这可能非常符合他的观点。但是，假设他是一名普通的男仆，这将不是一项伟大的工作。我相信达尔文的园丁在被问及他的主人怎么样时说：“一点都不好。你看，他整天都在胡思乱想。我见过他一次盯着一朵花五到十分钟。现在，如果他有一些工作要做，他会好很多。” 一部真正伟大的传记必须由一个能够理解他的主题并以广泛的视角看待他在人群中的地位的人才能写成，他能把琐碎的东西和重要的东西分开，把所有人共有的东西和这个主题所特有的东西分开。他的工作。肖像画中的情况也非常相似。只有画家才拥有直觉能力，能够抓住主题形式表达中的重要事物，区分琐碎和重要的事物。谁能在画布上将这一点有力地传达给观者，比随意看到真人更有力——只有这位画家才有希望画出一幅真正精美的肖像。

There are many points of view from which a portrait can be drawn—I mean, mental points of view. And, as in a biography, the value of the work will depend on the insight and distinction of the author or artist. The valet of a great man might write a biography of his master that could be quite true to his point of view; but, assuming him to be an average valet, it would not be a great work. I believe the gardener of Darwin when asked how his master was, said, “ Not at all well. You see, he moons about all day. I’ve seen him staring at a flower for five or ten minutes at a time. Now, if he had some work to do, he would be much better.” A really great biography cannot be written except by a man who can comprehend his subject and take a wide view of his position among men, sorting what is trivial from what is essential, what is common to all men from what is particular to the subject of his work. And it is very much the same in portraiture. It is only the painter who possesses the intuitive faculty for seizing on the significant things in the form expression of his subject, of disentangling what is trivial from what is important; and who can convey this forcibly to the beholder on his canvas, more forcibly than a casual sight of the real person could do—it is only this painter who can hope to paint a really fine portrait.

确实，任何画家的诚实和真诚的表达都会引起一些兴趣，就像达尔文的园丁所写的传记一样；但这种观点与彻底理解其主题的人的观点之间存在巨大差异。

It is true, the honest and sincere expression of any painter will be of some interest, just as the biography written by Darwin’s gardener might be; but there is a vast difference between this point of view and that of the man who thoroughly comprehends his subject.

并不是说艺术家有必要掌握画中人物的思想，尽管这并不是什么缺点。但这不是他的观点，他关心的是这个内在的人对他外表的影响。他必须拥有直觉的力量，能够本能地抓住那些表达内心的形式的变化。任何人习惯性的思维方式都会影响五官的形状，塑造五官的形态，对于有洞察力的人来说，头部是一个人的表现形式。每个人都拥有大人和小人，大人和小人的特征。精美的肖像将表达更大的个性，并抑制微小的个性，给予你有价值的东西，并抑制一个人外表中琐碎的东西。

Not that it is necessary for the artist to grasp the mind of his sitter, although that is no disadvantage. But this is not his point of view, his business is with the effect of this inner man on his outward appearance. And it is necessary for him to have that intuitive power that seizes instinctively on those variations of form that are expressive of this inner man. The habitual cast of thought in any individual affects the shape and moulds the form of the features, and, to the discerning, the head is expressive of the person; both the bigger and the smaller person, both the larger and the petty characteristics everybody possesses. And the fine portrait will express the larger and subordinate the petty individualities, will give you what is of value, and subordinate what is trivial in a person’s appearance.

头部姿势是人的一个特征，但在肖像摄影中并不总是得到足够的关注。习惯性的思维方式在很大程度上影响着它的表现。我们所指的两种极端类型是：情绪强烈的人，昂首挺胸，在周游世界时汲取印象；深思熟虑的人，头向前倾，背部也随之弯曲。每个人都有一些需要注意的特有动作，但当画中人第一次出现在工作室宝座上的画家面前时，这些动作通常是不存在的。一点点外交和谈话中的幽默是必要的，以产生一种会在外表上背叛这个人的无意识。

The pose of the head is a characteristic feature about people that is not always given enough attention in portraits. The habitual cast of thought affects its carriage to a very large degree. The two extreme types of what we mean are the strongly emotional man who carries his head high, drinking in impressions as he goes through the world; and the man of deep thought who carries his head bent forward, his back bent in sympathy with it. Everybody has some characteristic action in the way that should be looked out for and that is usually absent when a sitter first appears before a painter on the studio throne. A little diplomacy and conversational humouring is necessary to produce that unconsciousness that will betray the man in his appearance.

如何获得发现这些事物的力量，当然是不可能教授的。学生所能做的就是熟悉肖像画的最佳范例，希望通过这种方式能够激发他观察大自然的美好品质并发展出他最好的一面。但他在工作中决不能不真诚。如果他不欣赏公认大师作品中的美好事物，那就让他坚持诚实地描绘他在大自然中所看到的事物。他唯一能做到的区别就在于这个方向。直到他意识到自己在别人的作品中所欣赏的品质本质上才能够诚实地将它们引入到自己的表演中。

How the power to discover these things can be acquired, it is, of course, impossible to teach. All the student can do is to familiarise himself with the best examples of portraiture, in the hope that he may be stimulated by this means to observe finer qualities in nature and develop the best that is in him. But he must never be insincere in his work. If he does not appreciate fine things in the work of recognised masters, let him stick to the honest portrayal of what he does see in nature. The only distinction of which he is capable lies in this direction. It is not until he awakens to the sight in nature of qualities he may have admired in others’ work that he is in a position honestly to introduce them into his own performances.

目前肖像画中最流行的观点可能是“生动地呈现活生生的人物”。这是在展览中吸引人群的肖像。你无法忽视它，它迸发出生命力，一切似乎都为了这种栩栩如生的品质而牺牲。从这个角度画了一些非常精彩的现代肖像画。但我们是否为这种活力品质牺牲了太多呢？这里是一位女士急忙从沙发上起身，那里是一位绅士走出画面迎接你，暴力与活力无处不在。但是，人们在过去的伟大肖像画中所习惯的平静、色彩和形式的和谐以及视觉材料的明智排序和选择又如何呢？虽然其中的工匠对这件作品的精湛技艺感到震惊和惊讶，但其中的艺术家却对为了短暂的兴奋而付出如此多的牺牲感到不满。毫无疑问，年龄可能会使这类肖像画的色彩和色调变得安静，从而改善它们。那些设计和布局良好的人将能够忍受这一点，而不会失去区别，但那些为了这种引人注目的逼真质量而牺牲一切的人将遭受相当大的损失。这种特殊的品质在很大程度上取决于油漆的新鲜度，以至于当油漆变得柔和并失去鲜艳度时，如果为此牺牲了设计和布置的安静品质，那么就没有任何价值了。

Probably the most popular point of view in portraiture at present is the one that can be described as a “ striking presentment of the live person.” This is the portrait that arrests the crowd in an exhibition. You cannot ignore it, vitality bursts from it, and everything seems sacrificed to this quality of striking lifelikeness. And some very wonderful modern portraits have been painted from this point of view. But have we not sacrificed too much to this quality of vitality ? Here is a lady hurriedly getting up from a couch, there a gentleman stepping out of the frame to greet you, violence and vitality everywhere. But what of repose, harmony of colour and form, and the wise ordering and selecting of the materials of vision that one has been used to in the great portraiture of the past? While the craftsman in one is staggered and amazed at the brilliant virtuosity of the thing, the artist in one resents the sacrifice of so much for what is, after all, but a short-lived excitement. Age may, no doubt, improve some of the portraits of this class by quieting them in colour and tone. And those that are good in design and arrangement will stand this without loss of distinction, but those in which everything has been sacrificed to this striking lifelike quality will suffer considerably. This particular quality depends so much on the freshness of the paint that when this is mellowed and its vividness is lost, nothing will remain of value, if the quieter qualities of design and arrangement have been sacrificed for it.

弗兰斯·哈尔斯（Frans Hals）是我能想到的唯一一位可以与这种肖像画相媲美的老大师。但值得注意的是，除了精心设计他的画布外，他通常会在形式的活力和活力与极其清醒的色彩之间取得平衡。事实上，在他后来的一些作品中，这种不安的活力最为明显，颜色只不过是黑白，带有一点黄赭石和威尼斯红。正是这种极度宁静的色彩对抗了形式的动荡，并有助于恢复画面的平衡和必要的宁静。有趣的是，弗兰斯·哈尔（Frans Hal）的作品中边缘的不断变化，如果他能帮助的话，他是如何从不让边缘平滑地运行，而是让它不断地移动，经常让它变得锯齿状，并比较这个正如所说的活力取决于品种。

Frans Hals is the only old master I can think of with whom this form of portrait can be compared. But it will be noticed that besides designing his canvases carefully, he usually balanced the vigour and vitality of his form with a great sobriety of colour. In fact, in some of his later work, where this restless vitality is most in evidence, the colour is little more than black and white, with a little yellow ochre and Venetian red. It is this extreme reposefulness of colour that opposes the unrest in the form and helps to restore the balance and necessary repose in the picture. It is interesting to note the restless variety of the edges in Frans Hal’s work, how he never, if he can help it, lets an edge run smoothly, but keeps it constantly on the move, often leaving it quite jagged, and to compare this with what was said about vitality depending on variety.

板 LII

Plate LII

约翰·雷德蒙德，议员

JOHN REDMOND, M.P.

出自国会议员罗伯特·埃塞克斯爵士收藏的绘画，用红色粉笔

擦拭，用橡胶挑出高光。

From the drawing in the collection of Sir Robert Essex, M.P., in red conté chalk

rubbed, the high lights being picked out with rubber.

另一种观点是艺术家的观点，他试图对坐者的外部形式给出一个重要而冷静的看法，这些形式的个性的表现力地图，让你形成自己的智力判断。通常会选择一种简单、相当正式的态度，并且画中人会被真诚地吸引。对于一位对形式和设计有很高鉴赏力的画家来说，这种观点有很多值得说的。但如果没有这些更鼓舞人心的品质，大多数字面抄本就很容易显得乏味。这种观点在早期肖像画家中有很多例子，其中最好的例子之一是霍尔拜因的作品。但随后，除了对形式表征的微妙之处的非常杰出的欣赏之外，他还添加了对设计和色彩布置的精细感觉，这些品质绝不总是由这个流派中的一些较小的人掌握的。

Another point of view is that of the artist who seeks to give a significant and calm view of the exterior forms of the sitter, an expressive map of the individuality of those forms, leaving you to form your own intellectual judgments. A simple, rather formal, attitude is usually chosen, and the sitter is drawn with searching honesty. There is a great deal to be said for this point of view in the hands of a painter with a large appreciation of form and design. But without these more inspiring qualities it is apt to have the dulness that attends most literal transcriptions. There are many instances of this point of view among early portrait painters, one of the best of which is the work of Holbein. But then, to a very distinguished appreciation of the subtleties of form characterisation he added a fine sense of design and colour arrangement, qualities by no means always at the command of some of the lesser men of this school.

每个肖像画家都应该去温莎朝圣，并获得必要的许可，在城堡的图书馆里观看这位大师的精彩肖像画系列。他们接受肖像画自由教育。有必要看原作，因为只有看过原作之后，才能正确理解那些数量众多、广为人知的复制品。我认为，对这些图画的研究将揭示这样一个事实：它们并不像通常认为的那么字面意思。他们毫不畏缩、不做作地诚实，但诚实不是对模特外貌冷酷、机械地准确的记录，而是对现场模特在现场艺术家脑海中留下的重要印象诚实而准确。这就是我们试图解释的学术绘画和生命绘画之间存在的差异，就像所有艺术品质一样，这是一种非常微妙和难以捉摸的品质。在强烈的心理活动的指导下，以毫不畏缩的准确性完成的重要印象的记录与用机器冷酷的机械精度完成的绘图是非常不同的。这幅画会立即吸引人们的注意力，并以一种任何机械精确的绘画都无法做到的方式给人一种生动的感觉，而且以一种真人的视线可能并不总是能做到的方式。我们一天中会看到很多面孔，但像我所说的那样生动的面孔却很少。人群中有多少面孔冷漠地经过，他们给我们留下的印象没有活力；但突然间，一张脸会吸引我们的注意力，虽然它转瞬即逝，但这个印象的记忆却会保留一段时间。

Every portrait draughtsman should make a pilgrimage to Windsor, armed with the necessary permission to view the wonderful series of portrait drawings by this master in the library of the castle. They are a liberal education in portrait drawing. It is necessary to see the originals, for it is only after having seen them that one can properly understand the numerous and well-known reproductions. A study of these drawings will, I think, reveal the fact that they are not so literal as is usually thought. Unflinchingly and unaffectedly honest they are, but honest not to a cold, mechanically accurate record of the sitter’s appearance, but honest and accurate to the vital impression of the live sitter made on the mind of the live artist. This is the difference we were trying to explain that exists between the academic and the vital drawing, and it is a very subtle and elusive quality, like all artistic qualities, to talk about. The record of a vital impression done with unflinching accuracy, but under the guidance of intense mental activity is a very different thing from a drawing done with the cold, mechanical accuracy of a machine. The one will instantly grip the attention and give one a vivid sensation in a way that no mechanically accurate drawing could do, and in a way that possibly the sight of the real person would not always do. We see numbers of faces during a day, but only a few with the vividness of which I am speaking. How many faces in a crowd are passed indifferently—there is no vitality in the impression they make on our mind; but suddenly a face will rivet our attention, and although it is gone in a flash, the memory of the impression will remain for some time.

霍尔拜因最好的肖像画给人一种在这些闪光中被看到的印象，从而吸引人们的注意。在这种精神刺激下完成的绘图与以冷酷精确度完成的绘图呈现出细微的差异。这里复制的奥德利夫人的画作，在画者的左眼中证明了所谓事实的一些微妙变化。值得注意的是，这只眼睛的瞳孔比另一只眼睛的瞳孔大。现在我不认为从机械精度的角度来说确实如此，但是被视为头部生动印象的一部分的眼睛印象很少是相同大小的。霍尔拜因首先在这幅精心制作的画作中使它们如此，但当最后他使这一印象焕发活力时，正如艺术家所说的“将其组合在一起”，他故意在原来的线条之外画了一条线，使这个学生更大。这一点在复制品中根本看不出来，但在原作中却清晰可见。在我看来，这是根据他希望他的画传达的生动的心理印象来完成的。翻开这一系列精彩的图画，人们都会被它们生动的肖像所震惊，而这种生动性是因为它们对霍尔拜因头脑中的重要印象的极其准确，而不仅仅是冷漠地观察到的事实。

The best of Holbein’s portrait drawings give one the impression of having been seen in one of these flashes and rivet the attention in consequence. Drawings done under this mental stimulus present subtle differences from drawings done with cold accuracy. The drawing of the Lady Audley, here reproduced, bears evidence of some of this subtle variation on what are called the facts, in the left eye of the sitter. It will be noticed that the pupil of this eye is larger than the other. Now I do not suppose that as a matter of mechanical accuracy this was so, but the impression of the eyes seen as part of a vivid impression of the head is seldom that they are the same size. Holbein had in the first instance in this very carefully wrought drawing made them so, but when at the last he was vitalising the impression, “pulling it together” as artists say, he has deliberately put a line outside the original one, making this pupil larger. This is not at all clearly seen in the reproduction, but is distinctly visible in the original. And to my thinking it was done at the dictates of the vivid mental impression he wished his drawing to convey. Few can fail to be struck in turning over this wonderful series of drawings by the vividness of their portraiture, and the vividness is due to their being severely accurate to the vital impression on the mind of Holbein, not merely to the facts coldly observed.

板 LIII

Plate LIII

版权照片布劳恩公司

Copyright photo Braun & Co.

奥德利夫人。霍尔拜因（温莎）

THE LADY AUDLEY. HOLBEIN (WINDSOR)

注意眼睛中不同大小的瞳孔，并查看对面页面上的凸版印刷。

Note the different sizes of pupils in the eyes, and see letterpress on the opposite page.

另一种观点是在脸上寻找内在人的象征，并选择头部的那些东西来表达这一点。正如已经说过的，随着时间的推移，习惯性的心态会对脸部的形状乃至整个身体产生显着的影响，因此，对于那些看得见的人来说，男人或女人是一个自身的可见象征。但这对所有人来说都不是显而易见的抱怨。

Another point of view is that of seeking in the face a symbol of the person within, and selecting those things about a head that express this. As has already been said, the habitual attitude of mind has in the course of time a marked influence on the form of the face, and in fact of the whole body, so that—to those who can see—the man or woman is a visible symbol of themselves. But this is by no moans apparent to all.

此类的显着例子是已故 GF Watts 的精彩肖像系列。看着这些头像，人们会比亲临现场时更全面、更深刻地认识到这些人。因为瓦茨试图从外表中发现这个人，并描绘出一幅应该成为他们的活生生象征的图画。在画画之前，他煞费苦心地尽其所能地了解画中人物的思想，并从外表中寻找内心的表达。因此，霍尔拜因生动地呈现了人们在人群中看到一个人头撞到别人的印象，而瓦茨则是人们首先意识到的精神。战争的雷霆出现在劳伦斯勋爵强大的头脑中，诗歌的音乐出现在斯温伯恩的头脑中，而更高层次的思想领域的干燥气氛则出现在约翰·斯图尔特磨坊等中。

The striking example of this class is the splendid series of portraits by the late G. F. Watts. Looking at these heads one is made conscious of the people in a fuller, deeper sense than if they were before one in the flesh. For Watts sought to discover the person in their appearance and to paint a picture that should be a living symbol of them. He took pains to find out all he could about the mind of his sitters before he painted them, and sought in the appearance the expression of this inner man. So that whereas with Holbein it was the vivid presentation of the impression as one might see a head that struck one in a crowd, with Watts it is the spirit one is first conscious of. The thunders of war appear in the powerful head of Lord Lawrence, the music of poetry in the head of Swinburne, and the dry atmosphere of the higher regions of thought in the John Stuart Mill, &c.

国家肖像画廊里有两幅诗人罗伯特·勃朗宁的画作，一幅是鲁道夫·莱曼的作品，一幅是瓦茨的作品。现在，以前的肖像可能更像诗人，因为遇见他的人不经意地看到了他。但瓦茨的肖像就像写诗的人，而莱曼的则不然。在这方面，勃朗宁是一个特别困难的主题，因为对于一个不经意的观察者来说，他的外表更多地表明他是一个成功的商人，而不是诗人的热情。

In the National Portrait Gallery there are two paintings of the poet Robert Browning, one by Rudolph Lehmann and one by Watts. Now the former portrait is probably much more “like” the poet as the people who met him casually saw him. But Watts’s portrait is like the man who wrote the poetry, and Lehmann’s is not. Browning was a particularly difficult subject in this respect, in that to a casual observer there was much more about his external appearance to suggest a prosperous man of business, than the fiery zeal of the poet.

瓦茨的这些肖像画将回报肖像画学生最密切的研究。它们充满了伟大思想的明智选择，使这些作品超越了平凡的琐碎，达到了伟大的富有想象力的绘画的水平。

These portraits by Watts will repay the closest study by the student of portraiture. They are full of that wise selection by a great mind that lifts such work above the triviality of the commonplace to the level of great imaginative painting.

另一种观点是将画中人物视为形式和色彩交响乐的一部分，并使一切都服从于这种艺术考虑。这在当今非常流行，许多美丽的作品都是以此为动机而完成的。我希望许多女士不会反对有人说她们的主要特征是外表的魅力，这种观点也许提供了成功绘画的最佳机会之一。选择的姿势可以形成良好的线条和颜色设计（良好的图案），并且不允许坐者的性格妨碍或破坏被视为美丽面板的整体的对称性。J. M'Neill Whistler 的肖像画就是这种处理方式的例子，这种观点在很大程度上影响了英国现代肖像画。

Another point of view is that of treating the sitter as part of a symphony of form and colour, and subordinating everything to this artistic consideration. This is very fashionable at the present time, and much beautiful work is being done with this motive. And with many ladies who would not, I hope, object to one’s saying that their principal characteristic was the charm of their appearance this point of view offers, perhaps, one of the best opportunities of a successful painting. A pose is selected that makes a good design of line and colour —a good pattern—and the character of the sitter is not allowed to obtrude or mar the symmetry of the whole considered as a beautiful panel. The portraits of J. M’Neill Whistler are examples of this treatment, a point of view that has very largely influenced modern portrait painting in England.

然后是官方肖像，必须考虑拍摄者所担任职务的尊严，而肖像是对这种场合的纪念。在这里，对人物的个人性格的更密切的兴趣服从于他的公共性格和对他的办公室的心态的兴趣。因此，在这类肖像画中，与朴素的史密斯先生的肖像画相比，可以允许更多地象征这些事物的装饰性场面。更加庄重的设计，适合正式场合。

Then there is the official portrait in which the dignity of an office held by the sitter, of which occasion the portrait is a memorial, has to be considered. The more intimate interest in the personal character of the sitter is here subordinated to the interest of his public character and attitude of mind towards his office. Thus it happens that much more decorative pageantry symbolic of these things is permissible in this kind of portraiture than in that of plain Mr. Smith; a greater stateliness of design as befitting official occasions.

并不认为这构成了可以考虑肖像的众多方面的完整列表，但它们是目前流行的一些更极端的方面。也没有人认为它们彼此不相容：两种或多种这些观点的性质经常出现在同一部作品中。一幅肖像可能包含一切，并且是一幅引人注目的逼真呈现，是所有特征的忠实目录，是人物的象征，是形式和色彩的交响乐，这并非不可想象。但这样的复合事件不太可能成功。一种或另一种品质将在一部成功的作品中占主导地位；不宜尝试并结合太多不同的观点，因为在思想混乱中就失去了表达的直接性。但是，没有一幅好的肖像画不具备所有这些观点的某些品质，无论哪种观点都可能主导艺术家的意图。

It is not contended that this forms anything like a complete list of the numerous aspects from which a portrait can be considered, but they are some of the more extreme of those prevalent at the present time. Neither is it contended that they are incompatible with each other: the qualities of two or more of these points of view are often found in the same work. And it is not inconceivable that a single portrait might contain all and be a striking lifelike presentment, a faithful catalogue of all the features, a symbol of the person and a symphony of form and colour. But the chances are against such a composite affair being a success. One or other quality will dominate in a successful work; and it is not advisable to try and combine too many different points of view as, in the confusion of ideas, directness of expression is lost. But no good portrait is without some of the qualities of all these points of view, whichever may dominate the artist’s intention.

相机，尤其是拍立得相机，已经让人们习惯于在肖像中期待瞬间的表情，而众所周知，在这些瞬间的表情中，淡淡的微笑很容易成为受欢迎的第一。画家在创作初期被问到何时加入微笑并不罕见，但毫无疑问，这就是艺术家表达的目的。

The camera, and more particularly the instantaneous camera, has habituated people to expect in a portrait a momentary expression, and of these momentary expressions the faint smile, as we all know, is an easy first in the matter of popularity. It is no uncommon thing for the painter to be asked in the early stages of his work when he is going to put in the smile, it never being questioned that this is the artist’s aim in the matter of expression.

赋予一幅画栩栩如生的表现力并不像看起来那么简单。如果一个人把真人放在画面后面，然后突然用他们脸上那些转瞬即逝的表情之一将他们永远固定下来，无论此刻多么自然，永远固定下来，都是可怕的，也是最不真实的。正如我们已经说过的，一位完美的艺术家在一张纸上潦草地写下的几行文字会比这个固定的现实更能体现生活的感觉。肖像画所传达的表达和生命最终并不是为了追求实际的实现。每一张脸都有一种比由笑声或某些转瞬即逝的想法等引起的短暂的形式干扰更有趣和持久的表情。永远不要忘记，肖像画是一幅可以在几个世纪内保持不动的画板。因此，其成分中必须包含大量的休息品质。没有考虑到这一点的肖像画，无论在画展上多么有趣，只出现片刻，如果经常看到，就会让人感到厌烦，最终会非常令人恼火。

The giving of lifelike expression to a painting is not so simple a matter as it might appear to be. Could one set the real person behind the frame and suddenly fix them for ever with one of those passing expressions on their faces, however natural it might have been at the moment, fixed for ever it is terrible, and most unlifelike. As we have already said, a few lines scribbled on a piece of paper by a consummate artist would give a greater sense of life than this fixed actuality. It is not ultimately by the pursuit of the actual realisation that expression and life are conveyed in a portrait. Every face has expression of a far more interesting and enduring kind than these momentary disturbances of its form occasioned by laughter or some passing thought, &c. And it must never be forgotten that a portrait is a panel painted to remain for centuries without movement. So that a large amount of the quality of repose must enter into its composition. Portraits in which this has not been borne in mind, however entertaining at a picture exhibition, where they are seen for a few moments only, pall on one if constantly seen, and are finally very irritating.

但头部的真实表达比这些短暂的运动更持久：属于头部的形式，以及人的生活和性格在该形式上留下的痕迹。这比那些经过的表情更有趣，这些表情是皮下某些肌肉收缩的结果，其效果对大多数人来说非常相似。肖像画家必须找到这种更持久的表达方式，并在他的作品中赋予它高贵的表达方式。

But the real expression in a head is something more enduring than these passing movements: one that belongs to the forms of a head, and the marks left on that form by the life and character of the person. This is of far more interest than those passing expressions, the results of the contraction of certain muscles under the skin, the effect of which is very similar in most people. It is for the portrait painter to find this more enduring expression and give it noble expression in his work.

画中人普遍认为，如果他们穿上现代服装，几年后画面就会显得过时。如果画中人的外貌被固定在画布上，就像他们在画室里站在艺术家面前一样，而没有经过画家的任何选择，这可能就是结果，而且是没有更高目标的画家的结果比这个。

It is a common idea among sitters that if they are painted in modern clothes the picture will look old-fashioned in a few years. If the sitter’s appearance were fixed upon the canvas exactly as they stood before the artist in his studio, without any selection on the part of the painter, this might be the result, and is the result in the case of painters who have no higher aim than this.

但服饰中的某些特质并不只属于他们特定的时尚时期。所有年龄段的品质都是相同的。当这些都得到坚持，并且不再过多关注当下衣着的轻浮时，肖像就具有了永久的品质，并且永远不会以通常意味着的令人反感的方式显得过时。首先，制作衣服的布料和材料在折叠和悬垂在人体上的方式遵循法律，这些法律在所有时代都是一样的。如果画家寻求通过窗帘来表达人物，那么无论服装的剪裁可能呈现出何种奇妙的形状，他的作品都将具有永恒的品质。

But there are qualities in dress that do not belong exclusively to the particular period of their fashion. Qualities that are the same in all ages. And when these are insisted upon, and the frivolities of the moment in dress not troubled about so much, the portrait has a permanent quality, and will never in consequence look old-fashioned in the offensive way that is usually meant. In the first place, the drapery and stuffs of which clothes are made follow laws in the manner in which they fold and drape over the figure, that are the same in all times. If the expression of the figure through the draperies is sought by the painter, a permanent quality will be given in his work, whatever fantastic shapes the cut of the garments may assume.

此外，艺术家并没有采取任何他的模特的外表，而是对颜色和形式进行深思熟虑的安排，进行设计。他从他的模特动人且多变的外表中选择这一点，尝试一件又一件的事情，直到他看到一种暗示性的安排，并根据印象进行设计。确实，时尚的极端并不总是像更合理的模式那样容易地形成良好的图案。但情况并非总是如此，一些极端的时尚提供了非常辛辣和有趣的肖像设计的机会。因此，无论时尚多么极端，如果艺术家能够选择其中的某些方面，为他的肖像画一个良好的布局，那么作品就永远不会有令人反感的老式外观。优秀设计的原则在任何时候都是相同的。如果这种安排的材料以最流行的方式被发现，那么它已经被提升到一个永远不会过时的领域。

And further, the artist does not take whatever comes to hand in the appearance of his sitter, but works to a thought-out arrangement of colour and form, to a design. This he selects from the moving and varied appearance of his sitter, trying one thing after another, until he sees a suggestive arrangement, from the impression of which he makes his design. It is true that the extremes of fashion do not always lend themselves so readily as more reasonable modes to the making of a good pictorial pattern. But this is not always so, some extreme fashions giving opportunities of very piquant and interesting portrait designs. So that, however extreme the fashion, if the artist is able to select some aspect of it that will result in a good arrangement for his portrait, the work will never have the offensive old-fashioned look. The principles governing good designs are the same in all times; and if material for such arrangement has been discovered in the most modish of fashions, it has been lifted into a sphere where nothing is ever out of date.

只有当画家关心时尚的琐碎细节时，只是为了它们本身，为了让他的画看起来像真实的东西，而不是关心通过选择将时装的外观转化为永久的形式领域。和色彩设计，他的作品将证明几年后它就会显得陈旧。

It is only when the painter is concerned with the trivial details of fashion for their own sake, for the making his picture look like the real thing, and has not been concerned with transmuting the appearance of fashionable clothes by selection into the permanent realms of form and colour design, that his work will justify one in saying that it will look stale in a few years.

给坐着的人穿上毫无意义的所谓古典窗帘的时尚是一种软弱的时尚，并且通常认为采用它的艺术家缺乏从那个时期的服装中选择好的布置的能力。现代女装充满了新的安排和设计的建议，与过去所做的任何事情一样好。材料中微妙的色彩范围和纹理变化令人惊叹，而一些服装设计中所展现的巧妙发明让人怀疑，这句话中是否有一位杰出雕塑家“设计女装时装”的内容。是当今为数不多的极其重要的艺术之一。”

The fashion of dressing sitters in meaningless, so-called classical draperies is a feeble one, and usually argues a lack of capacity for selecting a good arrangement from the clothes of the period in the artist who adopts it. Modern women’s clothes are full of suggestions for new arrangements and designs quite as good as anything that has been done in the past. The range of subtle colours and varieties of texture in materials is amazing, and the subtlety of invention displayed in some of the designs for costumes leads one to wonder whether there is not something in the remark attributed to an eminent sculptor that “ designing ladies’ fashions is one of the few arts that is thoroughly vital to-day.”

十八

XVIII

视觉记忆

THE VISUAL MEMORY

记忆是艺术材料的巨大宝库，艺术家可能对其中的宝藏知之甚少，直到偶然的联想照亮了其中一些黑暗的深处。从早年起，这位年轻艺术家的头脑就一直在这些神秘的房间里储存印象，这些印象是从自然的各个方面、艺术品以及视野范围内的任何事物收集的。想象力正是从这家商店中汲取素材，无论它所呈现的形式多么奇妙和远离自然外观。

THE memory is the great storehouse of artistic material, the treasures of which the artist may know little about until a chance association lights up some of its dark recesses. From early years the mind of the young artist has been storing up impressions in these mysterious chambers, collected from nature’s aspects, works of art, and anything that comes within the field of vision. It is from this store that the imagination draws its material, however fantastic and remote from natural appearances the forms it may assume.

我们对图片的记忆在多大程度上影响了我们对自然的印象，我们可能没有怀疑过，但如果他从未看过一幅画，谁能知道他会看到什么样的场景呢？视觉对记忆的影响是如此敏感，以至于当我们看到某个给我们留下深刻印象的画家的画作后，我们很容易在记忆犹新的时候，按照他所画的方式来看待事物。 。在离开国家美术馆后的不同场合，我记得曾见过特拉法加广场，保罗·委罗内塞、特纳或任何在美术馆里可能给我留下深刻印象的画家都会画它，他们的作品的记忆为场景所产生的印象着色。

How much our memory of pictures colours the impressions of nature we receive is probably not suspected by us, but who could say how a scene would appear to him, had he never looked at a picture ? So sensitive is the vision to the influence of memory that, after seeing the pictures of some painter whose work has deeply impressed us, we are apt, while the memory of it is still fresh in our minds, to see things as he would paint them. On different occasions after leaving the National Gallery I can remember having seen Trafalgar Square as Paolo Veronese, Turner, or whatever painter may have impressed me in the Gallery, would have painted it, the memory of their work colouring the impression the scene produced.

但是，抛开图片的记忆，让我们考虑一下来自大自然的直接视觉记忆在我们的作品中的地位，图片是间接的或二手的印象。

But, putting aside the memory of pictures, let us consider the place of direct visual memory from nature in our work, pictures being indirect or second-hand impressions.

我们在前面的章节中已经看到，十九世纪的某些画家是如何感受到绘画已经变得多么二手和远离自然，开始了一场抛弃画室传统、单眼研究自然的运动，将他们的画面从自然中剥离出来。门，并努力当场从她手中夺取自然的秘密。英国的拉斐尔前派运动和法国的印象派运动就是这种冲动的结果。顺便说一句，对比这种对自然更真实的渴望对法国人和英国人气质的不同影响方式是很有趣的。英国人强烈的个人主义追求每一个细节、每一片叶子和花朵，以激情和强度来描绘它们，使他们的绘画成为表达诗意思想的生动媒介；而法国人的综合思维则从整体效果的相反角度来寻求视觉真理，在大而普遍的印象中发现了一个新的美世界。他更具逻辑性的思维引导他探究光的本质，从而发明了一种基于科学原理的技术。

We have seen in an earlier chapter how certain painters in the nineteenth century, feeling how very second-hand and far removed from nature painting had become, started a movement to discard studio traditions and study nature with a single eye, taking their pictures out of doors, and endeavouring to wrest nature’s secrets from her on the spot. The Pre-Raphaelite movement in England and the Impressionist movement in France were the results of this impulse. And it is interesting, by the way, to contrast the different manner in which this desire for more truth to nature affected the French and English temperaments. The intense individualism of the English sought out every detail, every leaf and flower for itself, painting them with a passion and intensity that made their painting a vivid medium for the expression of poetic ideas; while the more synthetic mind of the Frenchman approached this search for visual truth from the opposite point of view of the whole effect, finding in the large, generalised impression a new world of beauty. And his more logical mind led him to inquire into the nature of light, and so to invent a technique founded on scientific principles.

但现在，新运动的第一缕新鲜感已经褪去，画家们开始意识到，如果要尝试任何非常普通的效果，那么现场的绘画就必须让位于更多地依赖记忆。

But now the first blush of freshness has worn off the new movement, painters have begun to see that if anything but very ordinary effects are to be attempted, this painting on the spot must give place to more reliance on the memory.

记忆比直接视觉有一个巨大的优势：它更生动地保留了本质的东西，并且习惯于丢失对图像印象来说不重要的东西。

Memory has this great advantage over direct vision: it retains more vividly the essential things, and has a habit of losing what is unessential to the pictorial impression.

但一幅画的本质是什么？是什么让一个人想要画画？啊! 在这里，我们面临着非常有争议和模糊的领域，我们除了提出问题之外无能为力，而问题的答案会因每个人的气质而异。这些照射到我们视网膜上的光线向我们的大脑传达了什么，并从我们的大脑向位于其之上的意识所在地的我们自己传达了什么？内在与外在之间建立的这种神秘的对应关系是什么，有时会在我们的整个存在中发出如此和谐的喧嚣？为什么音乐中声音的某些组合以及艺术中形式和色彩的某些组合会对我们产生如此深刻的影响？宇宙和谐的法则是什么？它们从何而来？艺术家感兴趣的几乎不是树木、天空、大地或血肉本身。相反，通过这些令人难忘的时刻，他可以意识到更深层次的事物，并被迫寻求表达令他感动的事物。它记录了这些罕见的时刻，在这些时刻中，人们理解了艺术家希望传达给他人的所见事物的真相。但这些时刻、每幅重要画面开始时的灵感闪现却很少出现。画家要做的就是将它们生动地定格在自己的记忆中，可以说是对它们进行快照，以便它们在艰苦的绘画过程中陪伴在他身边，指导工作。

But what is the essential in a painting? What is it makes one want to paint at all? Ah! Here we approach very debatable and shadowy ground, and we can do little but ask questions, the answer to which will vary with each individual temperament. What is it that these rays of light striking our retina convey to our brain, and from our brain to whatever is ourselves, in the seat of consciousness above this? What is this mysterious correspondence set up between something within and something without, that at times sends such a clamour of harmony through our whole being? Why do certain combinations of sound in music and of form and colour in art affect us so profoundly? What are the laws governing harmony in the universe, and whence do they come? It is hardly trees and sky, earth, or flesh and blood, as such, that interest the artist; but rather that through these things in memorable moments he is permitted a consciousness of deeper things, and impelled to seek utterance for what is moving him. It is the record of these rare moments in which one apprehends truth in things seen that the artist wishes to convey to others. But these moments, these flashes of inspiration which are at the inception of every vital picture, occur but seldom. What the painter has to do is to fix them vividly in his memory, to snapshot them, as it were, so that they may stand by him during the toilsome procedure of the painting, and guide the work.

这种最初的灵感，这种最初在头脑中闪过的念头，不一定是自然界场景的结果，当然也可能纯粹是想象的结果；一首作品，其感觉在脑海中闪过。但无论哪种情况，困难都在于生动地保留这种原始艺术冲动的感觉。而在它直接源自自然的情况下，就像现代艺术中经常出现的情况一样，持续在现场进行绘画的系统很容易很快就与自然失去联系。因为，在日复一日地不断观察你放在画架上的任何事物时，随着眼睛对主题的细节越来越熟悉，就会产生一系列越来越普遍的印象。不久之后，作为整个作品的原因的原始情感就被忽视了，其中一张图片或图画给出了或多或少巧妙地排列的疲倦物体的目录（我们都非常清楚），这就是结果——作品完全缺乏真正灵感的新鲜感和魅力。无论艺术家在他的一次“闪现”中看到的主题多么平常，它都披着一种新奇和惊喜的外衣，让我们着迷，即使它只是盘子里的一个橙子。

This initial inspiration, this initial flash in the mind, need not be the result of a scene in nature, but may of course be purely the work of the imagination; a composition, the sense of which flashes across the mind. But in either case the difficulty is to preserve vividly the sensation of this original artistic impulse. And in the case of its having been derived from nature direct, as is so often the case in modern art, the system of painting continually on the spot is apt to lose touch with it very soon. For in the continual observation of anything you have set your easel before day after day, comes a series of impressions, more and more commonplace, as the eye beeomes more and more familiar with the details of the subject. And ere long the original emotion that was the reason of the whole work is lost sight of, and one of those pictures or drawings giving a catalogue of tired objects more or less ingeniously arranged (that we all know so well) is the result—work utterly lacking in the freshness and charm of true inspiration. For however commonplace the subject seen by the artist in one of his “flashes,” it is clothed in a newness and surprise that charm us, be it only an orange on a plate.

现在，一幅画是在平坦的表面上绘画的东西，而绘画是在纸上的某些标记的问题，以及如何将视觉或想象的印象的复杂性转化为大量彩色颜料或线条的平淡术语和音调是我们技术所关心的事情。因此，画家能够轻松地记住他可以工作的形式的印象，将取决于他在技术意义上分析视觉的能力。一个人对所谓的图像制作的解剖学了解得越多——某些形式如何产生某些效果、某些颜色或排列、其他效果等等——他就越容易记住他的主题的视觉记忆在他长时间工作期间，我们会一直陪伴在他身边。他对线条和色调的表现力了解得越多，他就越容易观察自然界中重要的事物，从而传达他想要记住的印象。

Now a picture is a thing of paint upon a flat surface, and a drawing is a matter of certain marks upon a paper, and how to translate the intricacies of a visual or imagined impression to the prosaic terms of masses of coloured pigment or lines and tones is the business with which our technique is concerned. The ease, therefore, with which a painter will be able to remember an impression in a form from which he can work, will depend upon his power to analyse vision in this technical sense. The more one knows about what may be called the anatomy of picture-making—how certain forms produce certain effects, certain colours or arrangements other effects, &c.—the easier will it be for him to carry away a visual memory of his subject that will stand by him during the long hours of his labours at the picture. The more he knows of the expressive powers of lines and tones, the more easily will he be able to observe the vital things in nature that convey the impression he wishes to memorise.

仅仅喝醉并记住事情的情感方面是不够的，尽管这必须充分完成，但如果要带走对主题的记忆，这在技术上是有用的，那么场景必须致力于记忆就你打算使用的任何媒介来再现它而言——在绘画、线条和色调的情况下。并且必须将印象分析为这些术语，就好像您实际上在脑海中想象的一张纸上绘制场景一样。做到这一点的能力不是一下子就能获得的，但它的发展能力却令人惊奇。正如记忆长诗或戏剧的能力可以得到发展一样，记忆视觉事物的能力也可以得到发展。直到最近，这个主题才在艺术学校中受到很少的关注。但它还没有像应有的那样系统地完成。法国的 Lecoq de Boisbaudran 先生对学生进行了这种记忆训练的实验，从非常简单的事物（例如鼻子的轮廓）开始，然后通过简单的阶段继续到更复杂的主题，取得了最令人惊讶的结果。毫无疑问，在这个方向上可以而且应该做比目前尝试更多的事情。学生应该做的是养成一种习惯，每天在速写本上画出他们所看到的、他们感兴趣的东西，并且他们已经尝试过记住这些东西。如果一开始的结果很差并且令人失望，请不要灰心——您会发现，通过坚持不懈，您的记忆力将会增强，并在您下班后为您提供最大的服务。特别要努力记住主题的精神，在这种记忆绘图中，必然需要进行一些潦草和摸索。你不能指望能够根据记忆明确而清晰地画画，至少在一开始是这样，尽管你的目标应该始终是尽可能坦率、清晰地画画。

It is not enough to drink in and remember the emotional side of the matter, although this must be done fully, but if a memory of the subject is to be carried away that will be of service technically, the scene must be committed to memory in terms of whatever medium you intend to employ for reproducing it—in the case of a drawing, lines and tones. And the impression will have to be analysed into these terms as if you were actually drawing the scene on some imagined piece of paper in your mind. The faculty of doing this is not to be acquired all at once, but it is amazing of how much development it is capable. Just as the faculty of committing to memory long poems or plays can be developed, so can the faculty of remembering visual things. This subject has received little attention in art schools until just recently. But it is not yet so systematically done as it might be. Monsieur Lecoq de Boisbaudran in France experimented with pupils in this memory training, beginning with very simple things like the outline of a nose, and going on to more complex subjects by easy stages, with the most surprising results. And there is no doubt that a great deal more can and should be done in this direction than is at present attempted. What students should do is to form a habit of making every day in their sketch-book a drawing of something they have seen that has interested them, and that they have made some attempt at memorising. Don’t be discouraged if the results are poor and disappointing at first—you will find that by persevering your power of memory will develop and be of the greatest service to you in your after work. Try particularly to remember the spirit of the subject, and in this memory-drawing some scribbling and fumbling will necessarily have to be done. You cannot expect to be able to draw definitely and clearly from memory, at least at first, although your aim should always be to draw as frankly and clearly as you can.

板 LIV

Plate LIV

研究黑白棕色纸 CONTÉ 粉笔

说明一个简单的方法 01 研究窗帘形式。

STUDY ON BROWN PAPER IN BLACK AND WHITE CONTÉ CHALK

Illustrating a simple method 01 studying drapery forms.

让我们假设您已经找到了一个令您感动的主题，并且由于时间太短暂而无法当场绘制，因此您希望将其牢记在心。尽情享受它，让它浸透其中，因为回忆起来对你以后的记忆描绘会有最大的帮助。这种心理印象并不难回忆。难以记住的是线条和色调方面的视觉印象。在充分享受了主题中的艺术内容之后，接下来您必须从物质方面考虑它，将其视为平面的视觉印象，因为这是可以在平面纸张上表达的唯一形式。注意主线的比例、它们的形状和布局，就好像你在画它一样，实际上在你的脑海里画出整个图，记住不同部分的形式和比例，并将它固定在你的记忆中，直到最小的细节。

Let us assume that you have found a subject that moves you and that, being too fleeting to draw on the spot, you wish to commit to memory. Drink a full enjoyment of it, let it soak in, for the recollection of this will be of the utmost use to you afterwards in guiding your memory-drawing. This mental impression is not difficult to recall; it is the visual impression in terms of line and tone that is difficult to remember. Having experienced your full enjoyment of the artistic matter in the subject, you must next consider it from the material side, as a flat, visual impression, as this is the only form in which it can be expressed on a flat sheet of paper. Note the proportions of the main lines, their shapes and disposition, as if you were drawing it, in fact do the whole drawing in your mind, memorising the forms and proportions of the different parts, and fix it in your memory to the smallest detail.

如果只记住了事物的情感方面，那么当你来画它时，你将毫无希望地茫然不知所措，因为值得注意的是，如果没有尝试去记住，那么对经常看到的事物的外观的记忆是多么的少。他们的视觉外观。

If only the emotional side of the matter has been remembered, when you come to draw it you will be hopelessly at sea, as it is remarkable how little the memory retains of the appearance of things constantly seen, if no attempt has been made to memorise their visual appearance.

真正的艺术家，即使是在大自然中创作，很大程度上也是凭记忆创作的。也就是说，他的工作计划与该主题最初激发他的某种情感热情相一致。自然总是在变化，但他并没有改变他的绘画意图。他总是保留着他开始绘画的最初印象，并且只从自然中选择那些符合它的东西。他是一位软弱的艺术家，他会单独复制场景的各个部分，无论这些部分在他制作这些部分时可能产生什么效果，然后期望将其总和制作成一幅画。如果情况允许，最好先画一个快速的草图，无论它有什么不足，至少应包含在激发热情的影响下看到的构图的主要结构和线条。工作。当你在工作中最初的冲动变得迟钝时，这对于你以后恢复记忆非常有价值。第一张草图的活力很少会被完成的作品所超越，而且常常是，唉！这是远远无法匹敌的。

The true artist, even when working from nature, works from memory very largely. That is to say, he works to a scheme in tune to some emotional enthusiasm with which the subject has inspired him in the first instance. Nature is always changing, but he does not change the intention of his picture. He always keeps before him the initial impression he sets out to paint, and only selects from nature those things that play up to it. He is a feeble artist, who copies individually the parts of a scene with whatever effect they may have at the moment he is doing them, and then expects the sum total to make a picture. If circumstances permit, it is always as well to make in the first instance a rapid sketch that shall, whatever it may lack, at least contain the main disposition of the masses and lines of your composition seen under the influence of the enthusiasm that has inspired the work. This will be of great value afterwards in freshening your memory when in the labour of the work the original impulse gets dulled. It is seldom that the vitality of this first sketch is surpassed by the completed work, and often, alas! it is far from equalled.

在肖像画和绘画中也必须使用记忆。一个画者在不同的日子里给人的印象有很大的不同，艺术家必须在早期画画时，当他的头脑清醒时，选择他想要绘画的方面，然后在很大程度上记住这一点。

In portrait painting and drawing the memory must be used also. A sitter varies very much in the impression he gives on different days, and the artist must in the early sittings, when his mind is fresh, select the aspect he means to paint and afterwards work largely to the memory of this.

始终按照您已决定的计划进行工作，不要因希望在执行过程中出现一些结果而陷入困境。当这个主题第一次呈现给你时，你的感官从未如此活跃并容易看到一些有趣和美好的东西。现在是决定你的计划的时候了；现在是充分体现你想要传达的印象的时候了。现在是时候彻底了解你的主题并决定你想要的图片是什么了。决定了这一点后，就直接开始工作，利用自然来支持你最初的印象，但不要被一个新的计划所引导，因为在你进行的过程中其他人会给你带来打击。当然，新方案会做到这一点，并且每一个新方案都有一个比原来的方案看起来更好的技巧。但这种情况并不常见。事实上，它们是新的，这使得它们看起来比您已经习惯的原始方案具有更大的优势。因此，只有在远离自然的地方工作时，记忆才有用处，但实际上，当直接在自然面前工作时，记忆才有用。

Always work to a scheme on which you have decided, and do not flounder on in the hope of something turning up as you go along. Your faculties are never so active and prone to see something interesting and fine as when the subject is first presented to them. This is the time to decide your scheme; this is the time to take your fill of the impression you mean to convey. This is the time to learn your subject thoroughly and decide on what you wish the picture to be. And having decided this, work straight on, using nature to support your original impression, but don’t be led off by a fresh scheme because others strike you as you go along. New schemes will do so, of course, and every new one has a knack of looking better than your original one. But it is not often that this is so; the fact that they are new makes them appear to greater advantage than the original scheme to which you have got accustomed. So that it is nob only in working away from nature that the memory is of use, but actually when working directly in front of nature.

概括起来，一个主题有两个方面，一是沉迷于它的感官愉悦，有意识或无意识地传达着一切精神意义，二是与线条、色调、形状等有关。它们的节奏顺序，通过它们来表达——可以称之为物质和方式。而且，如果艺术家的记忆力要在他的作品中发挥作用，那么这两个方面都必须记住，而在这两个方面中，第二个方面最需要关注。但是，尽管主题有这两个方面，并且在记忆时必须分别注意每个方面，但实际上它们只是同一事物的两个方面，如果一件艺术作品是导致。当艺术家第一次看到一个主题时，他会喜欢它，因为它就像是绘画或绘制的东西，并本能地感觉到它需要处理。在良好的绘画技巧中，所感受到的事物将指导和支配一切，每一次触摸都将是本能的，带有第一印象的兴奋感。如此辛苦地建立起来的工匠精神现在应该已经成为一种本能，一种第二天性，在更高意识的指导下。在这种时候，正确的笔触、正确的音调自然而然地出现在正确的地方，艺术家只意识到一种强烈的喜悦和一种一切都协调一致、进展顺利的感觉。正是对这种光荣热情的渴求，这种物质与方式的融合，这种在外在形式中赋予精神的行为，时刻激励着艺术家，这就是艺术的奇妙之处。

To sum up, there are two aspects of a subject, the one luxuriating in the sensuous pleasure of it, with all of spiritual significance it may consciously or unconsciously convey, and the other concerned with the lines, tones, shapes, &c., and their rhythmic ordering, by means of which it is to be expressed—the matter and manner, as they may be called. And, if the artist’s memory is to be of use to him in his work, both these aspects must be memorised, and of the two the second will need the most attention. But although there are these two aspects of the subject, and each must receive separate attention when memorising it, they are in reality only two aspects of the same thing, which in the act of painting or drawing must be united if a work of art is to result. When a subject first flashes upon an artist he delights in it as a painted or drawn thing, and feels instinctively the treatment it will require. In good draughtsmanship the thing felt will guide and govern everything, every touch will be instinct with the thrill of that first impression. The craftsman mind, so laboriously built up, should by now have become an instinct, a second nature, at the direction of a higher consciousness. At such times the right strokes, the right tones come naturally and go on the right place, the artist being only conscious of a fierce joy and a feeling that things are in tune and going well for once. It is the thirst for this glorious enthusiasm, this fusing of matter and manner, this act of giving the spirit within outward form, that spurs the artist on at all times, and it is this that is the wonderful thing about art.

十九

XIX

程序

PROCEDURE

在开始绘画时，不要像许多学生那样，开始漫不经心地用粉笔或木炭摸索，希望能出现一些东西。艺术家在开始创作之前，很少会在纸上写下比他心中想象的更好的东西，而且通常情况下，效果也不是那么好。

IN commencing a drawing, don’t, as so many students do, start carelessly floundering about with your chalk or charcoal in the hope that something will turn up. It is seldom if ever that an artist puts on paper anything better than he has in his mind before he starts, and usually it is not nearly so good.

不要因大量的涂鸦而破坏一张干净的纸的美感。尝试在你的脑海中看到你想要画的图画，然后尝试让你的手实现它，通过你的每一次触摸使纸张变得更加美丽，而不是通过一种马虎的程序方式破坏它。

Don’t spoil the beauty of a clean sheet of paper by a lot of scribble. Try and see in your mind’s eye the drawing you mean to do, and then try and make your hand realise it, making the paper more beautiful by every touch you give instead of spoiling it by a slovenly manner of procedure.

知道自己想做什么，然后去做，这是良好风格和技巧的秘诀。这听起来很平常，但令人惊讶的是很少有学生将其作为目标。你可能经常会看到他们进来，在黑板上钉一张纸，在中间画一条线，进行一些测量，然后开始在绘图中进行阻挡，而没有考虑要绘制的主题，就好像它是一切都在他们面前完成了，只需要复印，就像一个职员会复印一封已经为他起草的信一样。

To know what you want to do and then to do it is the secret of good style and technique. This sounds very commonplace, but it is surprising how few students make it their aim. You may often observe them come in, pin a piece of paper on their board, draw a line down the middle, make a few measurements, and start blocking in the drawing without having given the subject to be drawn a thought, as if it were all there done before them, and only needed copying, as a clerk would copy a letter already drafted for him.

现在，没有人反对在工作中绘制指导线、进行测量和封锁的做法。这在学术工作中是非常必要的，尽管这会束缚于表现性绘画；但即使是在最学术的绘画中，也必须运用艺术智慧，尽管这不是本章特别提到的绘画类型。

Now, nothing is being said against the practice of drawing guide lines and taking measurements and blocking in your work. This is very necessary in academic work, if rather fettering to expressive drawing; but even in the most academic drawing the artistic intelligence must be used, although that is not the kind of drawing this chapter is particularly referring to.

先看好模型；尝试被你觉得好的或有趣的形式所感动，并在触碰纸张之前尝试在你的脑海中看到你想要画什么样的图画。在学校学习中，要始终毫不犹豫地诚实对待模特给你的印象，但要从你的脑海中消除相机对真实的看法。不要把自己变成一个机械工具来复制你面前的东西，让你的绘画成为智能感知真理的表达。

Look well at the model first; try and be moved by something in the form that you feel is fine or interesting, and try and see in your mind’s eye what sort of drawing you mean to do before touching your paper. In school studies, be always unflinchingly honest to the impression the model gives you, but dismiss the camera idea of truth from your mind. Instead of converting yourself into a mechanical instrument for the copying of what is before you, let your drawing be an expression of truth perceived intelligently.

对你在纸上画的前几笔要格外小心：你的绘画质量通常在这些早期阶段就决定了。如果它们充满活力且富有表现力，那么您就已经沿着可以发展的路线开始了，并且有希望画出一幅好画。如果他们又弱又穷，你就很难在他们的基础上得到任何好的东西。如果你的开始不好，请振作起来，把论文翻过来，重新开始，试图立即抓住主题中的大而重要的线条和波动。请记住，正确地写下一个陈述比纠正一个错误的陈述要容易得多；如果您确信它是错误的，请删除整个部分。训练自己在画作中做出直接、准确的陈述，不要浪费时间试图将一张糟糕的画变成一幅好画。一旦你觉得自己做错了，就立即停下来，并在早期阶段纠正工作，而不是在错误的基础上仓促行事，模糊地希望最终一切都会好起来。当你外出散步时，如果你发现你走错了路，你就不会走错路，如果你聪明的话，你会继续走下去，希望错误的路会通向正确的路，但你会转身回到原来的地方。你走错了路。这在绘画和绘画中非常相似。一旦你意识到自己走错了路，就停下来，擦掉你的工作，直到达到一个正确的早期阶段，然后从这一点重新开始。当你的眼睛得到训练时，你会更快地察觉到自己做错了动作，并能够在错误的道路上走得太远之前纠正它。

Be extremely careful about the first few strokes you put on your paper: the quality of your drawing is often decided in these early stages. If they are vital and expressive, you have started along lines you can develop, and have some hope of doing a good drawing. If they are feeble and poor, the chances are greatly against your getting anything good built upon them. If your start has been bad, pull yourself together, turn your paper over and start afresh, trying to seize upon the big, significant lines and swings in your subject at once. Remember it is much easier to put down a statement correctly than to correct a wrong one; so out with the whole part if you are convinced it is wrong. Train yourself to make direct, accurate statements in your drawings, and don’t waste time trying to manoeuvre a bad drawing into a good one. Stop as soon as you feel you have gone wrong and correct the work in its early stages, instead of rushing on upon a wrong foundation in the vague hope that it will all come right in the end. When out walking, if you find you have taken a wrong road you do not, if you are wise, go on in the hope that the wrong way will lead to the right one, but you turn round and go back to the point at which you left the right road. It is very much the same in drawing and painting. As soon as you become aware that you have got upon the wrong track, stop and rub out your work until an earlier stage that was right is reached, and start along again from this point. As your eye gets trained you will more quickly perceive when you have done a wrong stroke, and be able to correct it before having gone very far along the wrong road.

不要长时间工作而不让眼睛休息；几分钟就足够了。如果事情不顺利，就停下来；眼睛常常很快就会疲劳，无法看清真实的东西，但如果休息一两分钟，很快就会恢复。

Do not work too long without giving your eye a little rest; a few moments will be quite sufficient. If things won’t come, stop a minute; the eye often gets fatigued very quickly and refuses to see truly, but soon revives if rested a minute or two.

当你的头脑不工作时，不要去画画；你没有做任何善事，而且很可能正在破坏你已经做过的任何善事。振作起来，问问你想表达什么，并将这个想法牢牢地固定在你的脑海中，然后下定决心去画画。

Do not go labouring at a drawing when your mind is not working; you are not doing any good, and probably are spoiling any good you have already done. Pull yourself together, and ask what it is you are trying to express, and having got this idea firmly fixed in your mind, go for your drawing with the determination that it shall express it.

所有这些对于任何有勇气的学生来说都听起来很老套，但是有很多人以一种纯粹机械的、毫无生气的方式浪费了无尽的时间，他们的注意力在任何地方，但专注于他们面前的工作。如果头脑不工作，手的工作就毫无意义。我自己的经验是，在工作的过程中，必须不断地做出新的努力。头脑容易疲劳，需要不断地被唤醒，否则工作就会缺乏活力。尤其是在素描或绘画的最后阶段，在添加细节和小改进时，头脑必须加倍地需要最初的冲动，否则主要品质就会被模糊，结果就会减弱。通过这些较小的事情。

All this will sound very trite to students of any mettle, but there are large numbers who waste no end of time working in a purely mechanical, lifeless way, and with their minds anywhere but concentrated upon the work before them. And if the mind is not working, the work of the hand will be of no account. My own experience is that one has constantly to be making fresh effort during the procedure of the work. The mind is apt to tire and needs rousing continually, otherwise the work will lack the impulse that shall make it vital. Particularly is this so in the final stages of a drawing or painting, when, in adding details and small refinements, it is doubly necessary for the mind to be on fire with the initial impulse, or the main qualities will be obscured and the result enfeebled by these smaller matters.

如果可以的话，不要在旨在艺术表达的绘图中擦除。在学术工作中，艺术感比你的学科纪律更重要，你当然可以这样做，但即使在这里也尽可能少做。在任何设施的美丽绘画中，它都会产生削弱效果，有点类似于一个人在诙谐或精彩的评论中停下来纠正单词所产生的效果。如果画错了一条线，在许多大师的画中，它就会被留在正确线的旁边。但绘图员的伟大目标应该是训练自己干净、无所畏惧地画画，手和眼睛一起。但这种情况在一段时间内是无法预期的。

Do not rub out, if you can possibly help it, in drawings that aim at artistic expression. In academic work, where artistic feeling is less important than the discipline of your faculties, you may, of course, do so, but even here as little as possible. In beautiful drawing of any facility it has a weakening effect, somewhat similar to that produced by a person stopping in the middle of a witty or brilliant remark to correct a word. If a wrong line is made, it is left in by the side of the right one in the drawing of many of the masters. But the great aim of the draughtsman should be to train himself to draw cleanly and fearlessly, hand and eye going together. But this state of things cannot be expected for some time.

让艰苦的准确性成为您长期的目标。当你的眼睛和手掌握了观察并在纸上以一定程度的准确性表达所见的能力时，你会发现执行的便利性和速度会自然而然地出现。在绘制任何表现力时，执行的速度和便利是绝对必要的。在任何艺术意义上眼睛真正看到的情感波动不会持续足够长的时间，无法以缓慢、艰苦的方式进行。当意识活跃于实现美好事物时，表达机制一定不会出现任何障碍。手的流畅性和眼的准确性是你的学术研究应该教给你的东西，如果你想捕捉构成良好绘画的形式中任何更精细的东西的表达，这些能力将是需要的。

Let painstaking accuracy be your aim for a long time. When your eye and hand have acquired the power of seeing and expressing on paper with some degree of accuracy what you see, you will find facility and quickness of execution will come of their own accord. In drawing of any expressive power this quickness and facility of execution are absolutely essential. The waves of emotion, under the influence of which the eye really sees in any artistic sense, do not last long enough to allow of a slow, painstaking manner of execution. There must be no hitch in the machinery of expression when the consciousness is alive to the realisation of something fine. Fluency of hand and accuracy of eye are the things your academic studies should have taught you, and these powers will be needed if you are to catch the expression of any of the finer things in form that constitute good drawing.

尝试以尽可能简单而不是复杂的方式表达自己。让每一次触摸都有意义，如果你不知道下一步该做什么，就不要通过无意义的阴影和涂鸦来填补时间，直到你明白为止。等一会儿，把目光移开，让眼睛休息一下，然后看看是否找不到需要做的正确事情。

Try and express yourself in as simple, not as complicated a manner as possible. Let every touch mean something, and if you don’t see what to do next, don’t fill in the time by meaningless shading and scribbling until you do. Wait awhile, rest your eye by looking away, and then see if you cannot find something right that needs doing.

在开始绘图之前，仔细研究要绘制的主题可能暗示的某个绘图大师的作品并不是一个坏主意。如果你仔细地、深思熟虑地这样做，并充分享受，你的眼睛就会不知不觉地被引导到大自然中看到大师作品的一些品质。你会发现要绘制的主题比你在没有任何准备的情况下看到它的情况要好得多。复制品现在如此优质和便宜，世界上最好的图画只需几便士就可以买到，每个学生都应该开始收集他感兴趣的东西的复制品。

Before beginning a drawing, it is not a bad idea to study carefully the work of some master draughtsman whom the subject to be drawn may suggest. If you do this carefully and thoughtfully, and take in a full enjoyment, your eye will unconsciously be led to see in nature some of the qualities of the master’s work. And you will see the subject to be drawn as a much finer thing than would have been the case had you come to it with your eye unprepared in any way. Reproductions are now so good and cheap that the best drawings in the world can be had for a few pence, and every student should begin collecting reproductions of the things that interest him.

这里不是讨论健康问题的地方，但也许提及优秀绘图员神经活力的极端重要性，以及他的生活应该如何安排在如此健康的路线上，以至于他可以掌控一切，也许不会被认为是祖母式的。该能力的最大值而不是最小值。到了一定程度之后，一个艺术家在艺术上能走多远，就成了生命力的问题了。假设两个能力相当的人，一个过着粗心的生活，另一个过着健康的生活，只要对于艺术家这样一个超敏感的生物来说，健康的人是可能的，那么结果是毫无疑问的。正因为很多人心中还有一个挥之不去的想法，艺术家必须过着放荡的生活，否则就不是真正的艺术家，所以才觉得有必要提一下这个话题。这种想法显然是由于普通人无法将非传统的生活方式与放纵放荡联系起来。传统的生活并不是唯一健康的存在形式，而且对艺术家来说无疑是最不健康和最令人窒息的形式。对他来说，放荡的生活并不是唯一的非传统生活。年轻的学生应该了解这一点，并尽早引导他们好好照顾工作室最宝贵的财产，即充满活力的健康。

This is not the place to discuss questions of health, but perhaps it will not be thought grandmotherly to mention the extreme importance of nervous vitality in a fine draughtsman, and how his life should be ordered on such healthy lines that he has at his command the maximum instead of the minimum of this faculty. After a certain point, it is a question of vitality how far an artist is likely to go in art. Given two men of equal ability, the one leading a careless life and the other a healthy one, as far as a healthy one is possible to such a supersensitive creature as an artist, there can be no doubt as to the result. It is because there is still a lingering idea in the minds of many that an artist must lead a dissipated life or he is not really an artist, that one feels it necessary to mention the subject. This idea has evidently arisen from the inability of the average person to associate an unconventional mode of life with anything but riotous dissipation. A conventional life is not the only wholesome form of existence, and is certainly a most unwholesome and deadening form to the artist; and neither is a dissipated life the only unconventional one open to him. It is as well that the young student should know this, and be led early to take great care of that most valuable of studio properties, vigorous health.

XX

XX

材料

MATERIALS

艺术家所使用的材料对于决定他选择表达无限复杂的自然中的哪些品质至关重要。优秀的绘图员会找出属于他为绘图选择的任何媒介的特定内容，并小心不要尝试超出其能力的范围。他所使用的每种材料都具有其自身特有的某些重要品质，他的职责是找出这些品质并利用它们来为他的绘画带来好处。当一个人使用钢笔和墨水时，只选择某些东西的必要性是显而易见的。但当使用油画这种容量巨大的媒介时，其支配作品性质的原则往往会被忽视。油画如此接近地接近自然外观的真实幻觉，以至于在这个物体上浪费了很多误导性的努力，对这种媒介的所有享受都服从于欺骗眼睛的华而不实的尝试。我相信绘画艺术的一个流行观点是，它的存在主要是为了产生这种欺骗。如果没有人们所使用的媒介所具有的特殊生命力的帮助，就不可能实现对自然的生动表达。如果忽视了这一点，眼睛就被欺骗，以为它看到的是真实的自然，那么它就不是一幅精美的图画。艺术并不是自然的替代品，而是艺术家意识中产生的情感表达，并与其作品中表达情感的材料密切相关。首先，它的灵感可能来自于他所看到的事物，并由他用绘画符号表达出来，这些符号尽可能真实地表达了自然，同时又与促成作品的情感理念保持一致；但尽管如此，优秀的艺术家从未将其视为除了绘画符号之外的任何东西。无论他的主题需要怎样的自然主义处理，他一刻也不想让你忘记你所看到的是一幅绘画。

THE materials in which the artist works are of the greatest importance in determining what qualities in the infinite complexity of nature he selects for expression. And the good draughtsman will find out the particular ones that belong to whatever medium he selects for his drawing, and be careful never to attempt more than it is capable of doing. Every material he works with possesses certain vital qualities peculiar to itself, and it is his business to find out what these are and use them to the advantage of his drawing. When one is working with, say, pen and ink, the necessity for selecting only certain things is obvious enough. But when a medium with the vast capacity of oil paint is being used, the principle of its governing the nature of the work is more often lost sight of. So near can oil paint approach an actual illusion of natural appearances, that much misdirected effort has been wasted on this object, all enjoyment of the medium being subordinated to a meretricious attempt to deceive the eye. And I believe a popular idea of the art of painting is that it exists chiefly to produce this deception. No vital expression of nature can be achieved without the aid of the particular vitality possessed by the medium with which one is working. If this is lost sight of and the eye is tricked into thinking that it is looking at real nature, it is not a fine picture. Art is not a substitute for nature, but an expression of feeling produced in the consciousness of the artist, and intimately associated with the material through which it is expressed in his work. Inspired, it may be, in the first instance, by something seen, and expressed by him in painted symbols as true to nature as he can make them while keeping in tune to the emotional idea that prompted the work; but never regarded by the fine artist as anything but painted symbols nevertheless. Never for one moment docs he intend you to forget that it is a painted picture you are looking at, however naturalistic the treatment his theme may demand.

在早期的艺术史上，没有必要坚持不同媒介所施加的限制。由于早期大师对视觉现象的了解较为有限，因此在这方面没有同样的机会误入歧途。但是，既然已经发现了整个视野，并且能够表现出光和气氛的最微妙的影响，那么有必要确定表现的完全准确性将在多大程度上帮助您想要的图片或图像的特定印象。绘图来创建。危险在于，在产生完全的再现幻觉时，媒介的特殊活力及其所能产生的所有表现力可能会丧失。

In the earlier history of art it was not so necessary to insist on the limitations imposed by different mediums. With their more limited knowledge of the phenomena of vision, the early masters had not the same opportunities of going astray in this respect. But now that the whole field of vision has been discovered, and that the subtlest effects of light and atmosphere are capable of being represented, it has become necessary to decide how far complete accuracy of representation will help the particular impression you may intend your picture or drawing to create. The danger is that in producing a complete illusion of representation, the particular vitality of your medium, with all the expressive power it is capable of yielding, may be lost.

也许过去的大师与许多现代画家之间的主要区别就在于忽视了这一原则。无论他们使用什么媒介，他们都代表自然，并且 从未超越这一限制。现代艺术家，尤其是十九世纪的艺术家，经常试图复制自然，媒介服从于使其看起来像真实事物的尝试。同样，大师的画作也是图画。他们不会尝试任何无法表达的观点。许多现代艺术家的绘画都充满了表达色调和色彩效果的尝试，这些东西完全超出了绘画的真正范围。纯粹的绘画能够传达的自然中微小但极其重要的部分被忽视了，直到最近，线条画在我们的学校里已经过时了。

Perhaps the chief difference between the great masters of the past and many modern painters is the neglect of this principle. They represented nature in terms of whatever medium they worked in, and never overstepped this limitation. Modern artists, particularly in the nineteenth century, often attempted to copy nature, the medium being subordinated to the attempt to make it look like the real thing. In the same way, the drawings of the great masters were drawings. They did not attempt anything with a point that a point was not capable of expressing. The drawings of many modern artists are full of attempts to express tone and colour effects, things entirely outside the true province of drawing. The small but infinitely important part of nature that pure drawing is capable of conveying has been neglected, and line work, until recently, went out of fashion in our schools.

在你的材料所施加的限制中，有一些东西可以产生力量。许多艺术家的作品在一些较为有限的媒介上表现得很好，但当他们尝试像油画这样受到如此少限制的媒介时，他们的作品就显得非常无力了。如果能够引导学生在尝试绘画这样困难的媒介时对自己施加更多的克制，那将大大有利于他们的工作。正如前一章所解释的，首先从三种色调的单色开始，然后他们可能会采用象牙黑和威尼斯红作为人物作品。令人惊讶的是，用这种简单的方法可以获得如此多的色彩效果，并且可以了解多少暖色和冷色的相对位置。一开始不要尝试全范围的色调，而是保持黑暗比自然更亮，灯光比自然更暗。仅当您在较简单的范围内获得了足够的经验后，才尝试全面的色调，并在您学会掌握一些颜色后逐渐添加更多的颜色。但现在限制并不像肆无忌惮的放纵那样流行。艺术学生从充满最令人惊叹的色彩的调色板开始，产生最好不要讨论的结果。聪明人能够发现自己的局限性，并选择一种与自己的能力正好相符的媒介。为了发现这一点，建议尝试多种方法，下面是绘图员使用的主要方法的简短描述。但关于它们我们知之甚少，书面描述中对它们的能力也知之甚少。它们必须由学生来处理，而且毫无疑问，它们具有比学生尚未获得的更多的品质。

There is something that makes for power in the limitations your materials impose. Many artists whose work in some of the more limited mediums is fine, are utterly feeble when they attempt one with so few restrictions as oil paint. If students could only be induced to impose more restraint upon themselves when they attempt so difficult a medium as paint, it would be greatly to the advantage of their work. Beginning first with monochrome in three tones, as explained in a former chapter, they might then take for figure work ivory black and Venetian red. It is surprising what an amount of colour effect can be got with this simple means, and how much can be learned about the relative positions of the warm and cold colours. Do not attempt the full range of tone at first, but keep the darks rather lighter and the lights darker than nature. Attempt the full scale of tone only when you have acquired sufficient experience with the simpler range, and gradually add more colours as you learn to master a few. But restraints are not so fashionable just now as unbridled licence. Art students start in with a palette full of the most amazing colours, producing results that it were better not to discuss. It is a wise man who can discover his limitations and select a medium the capacities of which just tally with his own. To discover this, it is advisable to try many, and below is a short description of the chief ones used by the draughtsman. But very little can be said about them, and very little idea of their capacities given in a written description; they must be handled by the student, and are no doubt capable of many more qualities than have yet been got out of them.

这种众所周知的媒介是最美丽的纯线作品之一，它的使用对眼睛和手的观察精度都有很好的训练。也许这就是为什么它最近在我们的艺术学校中不那么受欢迎，严格纪律的魅力并没有得到应有的青睐。它是我们绘画的第一种媒介，因为它是最方便、最方便的，对于素描本的使用来说是无与伦比的。

This well-known medium is one of the most beautiful for pure line work, and its use is an excellent training to the eye and hand in precision of observation. Perhaps this is why it has not been so popular in our art schools recently, where the charms of severe discipline are not so much in favour as they should be. It is the first medium we are given to draw with, as the handiest and most convenient is unrivalled for sketch-book use.

它有多种程度，从最硬、最灰色到最软、最黑，众所周知，无需太多描述。它不需要修复。

It is made in a large variety of degrees, from the hardest and greyest to the softest and blackest, and is too well known to need much description. It does not need fixing.

对于纯粹的线条画来说，除了银尖之外，没有什么能与它相媲美，像安格尔这样的伟大绘图家一直都喜欢它。它不太适合任何形式的大规模绘制。尽管它有时用于此目的，但如果引入暗质量，则会产生令人反感的光泽，因此不适合在除非常浅阴影的作品之外的任何作品中使用它。

For pure line drawing nothing equals it, except silver point, and great draughtsmen, like Ingres, have always loved it. It does not lend itself so readily to any form of mass drawing. Although it is sometimes used for this purpose, the offensive shine that occurs if dark masses are introduced is against its use in any but very lightly shaded work.

柏拉图LV

Plato LV

来自银点图纸

FROM A SILVER-POINT DRAWING

它的魅力在于其灰黑色线条的极致细腻。

Its charm is the extreme delicacy of its grey-black lines.

与铅笔类似，但更精致的是银尖绘图。这是一种更古老的方法，它包括用银点在纸上绘画，纸的表面经过淡淡的中国白色处理。如果不进行这种清洗，该点将不会留下痕迹。

Similar to lead pencil, and of even greater delicacy, is silver-point drawing. A more ancient method, it consists in drawing with a silver point on paper the surface of which has been treated with a faint wash of Chinese white. Without this wash the point will not make a mark.

对于线条的极致精致和纯度，没有任何介质可以超越这种方法。而要表现轮廓等优美的线条，没有什么比银尖更合适的了。作为对眼睛和手的训练，它具有很大的价值，因为不可能有任何形式的摩擦，并且眼睛和手必须非常精确地配合。建议采用银点绘画作为对木炭画如画变幻莫测的修正。

For extreme delicacy and purity of line no medium can surpass this method. And for the expression of a beautiful line, such as a profile, nothing could be more suitable than a silver point. As a training to the eye and hand also, it is of great value, as no rubbing out of any sort is possible, and eye and hand must work together with great exactness. The discipline of silver-point drawing is to be recommended as a corrective to the picturesque vagaries of charcoal work.

金点可以产生更温暖的线条，也可以按照与银点相同的方式使用，首先用中国白处理纸张。

A gold point, giving a warmer line, can also be used in the same way as a silver point, the paper first having been treated with Chinese white.

已经解释了可以处理形式呈现的两种极端观点，并且建议学生首先应该分别学习它们，因为它们各自有不同的要教的东西。在最适合结合两种观点的绘画的媒介中，第一种也是最受欢迎的是木炭。

Two extreme points of view from which the rendering of form can be approached have been explained, and it has been suggested that students should study them both separately in the first instance, as they each have different things to teach. Of the mediums that are best suited to a drawing combining both points of view, the first and most popular is charcoal.

木炭有多种不同的硬度和柔软度，较硬的品种能够达到相当细的程度。凿子形状的尖端是最方便的，因为它磨损得不太快。如果需要深色质量时使用凿尖的宽边，则边缘可以始终保持锋利。用这个边缘可以画出非常细的线。

Charcoal is made in many different degrees of hardness and softness, the harder varieties being capable of quite a fine point. A chisel-shaped point is the most convenient, as it does not wear away so quickly. And if the broad side of the chisel point is used when a dark mass is wanted, the edge can constantly be kept sharp. With this edge a very fine line can be drawn.

木炭的工作非常自由，当需要强有力的表达时，它可以很容易地做出回应。它比任何其他形式的绘画都更像绘画，一块宽木炭留下类似于画笔的宽标记。与任何其他点画相比，其处理的精致和轻盈也更像是画笔的处理。当用手指摩擦时，整个作品会呈现出柔和的灰色调。用拇指和手指将一块面包压成小球，就可以用白粉笔精确地取出高光；或可以使用橡胶。面包也许是最好的，因为它不会弄脏木炭，而且很容易将其去除。当用手指摩擦时，深色的色调当然会变浅。因此，粗略地绘制一般比例并以这种方式擦掉是有用的。然后你的作品就会有一个中间色调，粗略的草图就会显现出来。现在，仔细地用面包或橡胶绘制灯光，用木炭绘制阴影，其方式与您在已经描述的单色练习中所做的方式大致相同。

Charcoal works with great freedom, and answers readily when forceful expression is wanted. It is much more like painting than any other form of drawing, a wide piece of charcoal making a wide mark similar to a brush. The delicacy and lightness with which it has to be handled is also much more like the handling of a brush than any other point drawing. When rubbed with the finger, it sheds a soft grey tone over the whole work. With a piece of bread pressed by thumb and finger into a pellet, high lights can be taken out with the precision of white chalk; or rubber can be used. Bread is, perhaps, the best, as it does not smudge the charcoal but lifts it readily off. When rubbed with the finger, the darks, of course, are lightened in tone. It is therefore useful to draw in the general proportions roughly and rub down in this way. You then have a middle tone over the work, with the rough drawing showing through. Now proceed carefully to draw your lights with bread or rubber, and your shadows with charcoal, in much the same manner as you did in the monochrome exercises already described.

画布上的所有初步设置通常都是用木炭完成的，当然必须用喷雾扩散器固定。对于大型作品，例如全身肖像，需要制作直径近一英寸的木炭棒，并且可以在不断裂的情况下完成很长的摆动线。

All the preliminary setting out of work on canvas is usually done with charcoal, which must of course be fixed with a spray diffuser. For large work, such as a full-length portrait, sticks of charcoal nearly an inch in diameter are made, and a long swinging line can be done without their breaking.

对于那些本身就具有美感的绘画，而不仅仅是作为绘画的准备研究，木炭可能不像许多其他媒介那样精致。它太像绘画而没有绘画的独特美感，也太像绘画而没有绘画的品质。然而，用它做了一些美丽的事情。

For drawings that are intended as things of beauty in themselves, and are not merely done as a preparatory study for a painting, charcoal is perhaps not so refined a medium as a great many others. It is too much like painting to have the particular beauties of a drawing, and too much like drawing to have the qualities of a painting. However, some beautiful things have been done with it.

在进行需要大量完成的研究时，它很有用，可以在吸引并继续进行某些工作时稍微修改工作。你可以再重新画一遍，而不必不断地用手擦掉已经画好的东西。如有必要，您可以用一块硬橡胶擦掉已经固定的任何部件，甚至用钢笔刀刮擦。但除了学术研究或工作图纸之外，这是不可取的，因为它破坏了木炭作品的美丽和新鲜感。用这种媒介完成的研究也可以用 Conté 粉笔完成。

It is useful in doing studies where much finish is desired, to fix the work slightly when drawn in and carried some way on. You can work over this again without continually rubbing out with your hand what you have already drawn. If necessary you can rub out with a hard piece of rubber any parts that have already been fixed, or even scrape with a pen-knife. But this is not advisable for anything but an academic study, or working drawings, as it spoils the beauty and freshness of charcoal work. Studies done in this medium can also be finished with Conté chalk.

还有一种制成棒状的人造木炭，非常适合精致的工作。与天然木炭相比，它有一些优点，因为没有节，而且作用更均匀。我用过的最好的天然木炭是法国品牌“Fusain Rouget”。它分为三个等级，3号是最柔软的，当然也是最黑的。不过卖的一些普通的威尼斯木炭和藤木炭都是不错的。但不要购买更便宜的木炭：一块劣质木炭比没用更糟糕。

There is also an artificial charcoal put up in sticks, that is very good for refined work. It has some advantages over natural charcoal, in that there are no knots and it works much more evenly. The best natural charcoal I have used is the French make known as “ Fusain Rouget.” It is made in three degrees, No. 3 being the softest, and, of course, the blackest. But some of the ordinary Venetian and vine charcoals sold are good. But don’t get the cheaper varieties: a bad piece of charcoal is worse than useless.

木炭通过溶解在酒中的白虫胶溶液固定，并用喷雾扩散器吹散。这是由艺术家的调色师出售的，或者可以由学生轻松制作。它在作品上轻轻沉积一层虫胶薄膜，充当清漆并防止其被擦掉

Charcoal is fixed by means of a solution of white shellac dissolved in spirits of wine, blown on with a spray diffuser. This is sold by the artists’ colourmen, or can be easily made by the student. It lightly deposits a thin film of shellac over the work, acting as a varnish and preventing its rubbing off

总的来说，木炭并不是纯粹热爱形式的艺术家所选择的媒介，而是画家在画笔和颜料不方便时使用的媒介。

Charcoal is not on the whole the medium an artist with a pure love of form selects, but rather that of the painter, who uses it when his brushes and paints are not handy.

红色粉笔是一种令人愉悦的媒介，可用于纯线条作品或混合绘画方法。这种天然红土是最古老的绘画材料之一。它是一种可爱的威尼斯红色，如果你得到一件好的作品，在自然状态下效果很好。它按盎司出售，建议您尝试一下，因为它们的差异很大，有些坚硬且有砂砾，有些则更柔软和光滑。它也是由巴黎的孔戴先生用人工准备的木棍制成的。这些粉笔效果很好，从来没有砂砾，但不像天然粉笔那么硬，因此磨损得很快，也不会留下细线。

A delightful medium that can be used for either pure line work or a mixed method of drawing, is red chalk. This natural red earth is one of the most ancient materials for drawing. It is a lovely Venetian red in colour, and works well in the natural state, if you get a good piece. It is sold by the ounce, and it is advisable to try the pieces as they vary very much, some being hard and gritty and some more soft and smooth. It is also made by Messrs. Conté of Paris in sticks artificially prepared. These work well and are never gritty, but are not so hard as the natural chalk, and consequently wear away quickly and do not make fine lines as well.

用手指或抹布擦拭时，红色粉笔会均匀地铺在纸上，并产生中间色调，可以用橡胶或面包在其上绘制灯光。坚硬的尖头橡胶棒到处都有卖，它们被切成凿子形状，在红色粉笔画上表现得非常漂亮。当需要柔和的光线时，面包也是很好的选择。你可以用手指或抹布在这种介质上不断地修正和重画，从而在很大程度上破坏了光和阴影，使你可以更仔细地重新绘制它们。因此，强烈建议使用红色粉笔来绘制图画，在找到所需内容之前可能需要大量摸索。与木炭不同，它几乎不需要固定，并且可以对它的形式进行更深入的研究。

Red chalk when rubbed with the finger or a rag spreads evenly on paper, and produces a middle tone on which lights can be drawn with rubber or bread. Sticks of hard, pointed rubber are everywhere sold, which, cut in a chisel shape, work beautifully on red chalk drawings. Bread is also excellent when a softer light is wanted. You can continually correct and redraw in this medium by rubbing it with the finger or a rag, thus destroying the lights and shadows to a large extent, and enabling you to draw them again more carefully. For this reason red chalk is greatly to be recommended for making drawings for a picture where much fumbling may be necessary before you find what you want. Unlike charcoal, it hardly needs fixing, and much more intimate study of the forms can be got into it.

本书中转载的作者的大部分图画都是在这种媒介上完成的。对于想要独立存在的图画来说，它是最漂亮的媒介之一。事实上，这就是学生学习时面临的危险：你的画看起来太完美了，以至于你很容易过早满足。但对于肖像画来说，没有任何媒介可以与之媲美。

Most of the drawings by the author reproduced in this book are done in this medium. For drawings intended to have a separate existence it is one of the prettiest mediums. In fact, this is the danger to the student while studying: your drawing looks so much at its best that you are apt to be satisfied too soon. But for portrait drawings there is no medium to equal it.

有时，通过将少量这种粉末状态的红色粉笔与水和少量阿拉伯树胶混合，可以获得额外的深色效果。这可以像水彩画一样用紫貂画笔涂抹，并产生丰富的天鹅绒般的深色。

Additional quality of dark is occasionally got by mixing a little of this red chalk in a powdered state with water and a very little gum-arabic. This can be applied with a sable brush as in water-colour painting, and makes a rich velvety dark.

有必要谨慎选择纸张。普通纸的尺寸太大。这会被粉笔拾取，并防止其留下痕迹。最好使用小尺寸的纸张，或者尺寸已经消失的旧纸张。我找到了一种用于印刷蚀刻版画的 OW 纸张，与普通工作的任何纸张一样好。它并不完美，但效果很好。人们想要的是最光滑的、没有经过饰面和热压表面的纸张，而且很难找到。

It is necessary to select your paper with some care. The ordinary paper has too much size on it. This is picked up by the chalk, and will prevent its marking. A paper with little size is best, or old paper where the size has perished. I find an O.W. paper, made for printing etchings, as good as any for ordinary work. It is not perfect, but works very well. What one wants is the smoothest paper without a faced and hot-pressed surface, and it is difficult to find.

有时黑色粉笔与红色粉笔一起使用以增加其强度。一些绘图师将其与红色一起使用，以产生几乎全彩的效果。

Occasionally black chalk is used with the red to add strength to it. And some draughtsmen use it with the red in such a manner as to produce almost a full colour effect.

霍尔拜因大量使用这种媒介，在他的大部分肖像画中对纸张进行了着色，色调变化很大，有时使用锌白作为洗涤剂，这使他能够在作品中到处补充银点线，并且还克服了纸张尺寸可能造成的任何困难。他的目标似乎是在头脑中选择少数必要的东西，并以极大的最终性和准确性将它们画出来。在许多绘画中，早期的作品是用红色或黑色粉笔完成的，然后擦拭，然后用刷子和一些粉笔用水和口香糖或高纯度的银尖线擦拭来重新绘制。在其他作品中，他用水彩给纸上色，然后将其擦到想要发光的白纸上，或者使用中国白来达到同样的目的。

Holbein, who used this medium largely, tinted the paper in most of his portrait drawings, varying the tint very much, and sometimes using zinc white as a wash, which enabled him to supplement his work with a silver-point line here and there, and also got over any difficulty the size in the paper might cause. His aim seems to have been to select the few essential things in a head and draw them with great finality and exactness. In many of the drawings the earlier work has been done with red or black chalk and then rubbed down and the drawing redone with either a brush and some of the chalk rubbed up with water and gum or a silver-point line of great purity, while in others he has tinted the paper with water-colour and rubbed this away to the white paper where he wanted a light, or Chinese white has been used for the same purpose.

Black Conté 是一种由不同程度的小棒制成的硬质黑色粉笔。它也被放在雪松铅笔中。它比红粉笔或木炭更有砂砾，是一些人最喜欢的介质，当需要更高的精度和清晰度时，可以有利地补充木炭。它具有非常相同的线条质量，因此不会显示为不同的介质。它可以像木炭和红粉笔一样摩擦，并以非常相似的方式在纸上传播色调。

Black Conté is a hard black chalk made in small sticks of different degrees. It is also put up in cedar pencils. Rather more gritty than red chalk or charcoal, it is a favourite medium with some, and can be used with advantage to supplement charcoal when more precision and definition are wanted. It has very much the same quality of line and so does not show as a different medium. It can be rubbed like charcoal and red chalk and will spread a tone over the paper in very much the same way.

碳素铅笔与 Conté 类似，但工作时更顺畅且不会摩擦。

Carbon pencils are similar to Conté, but smoother in working and do not rub.

有时使用白色粉笔在色调纸上绘制灯光，纸张充当半色调，而阴影和轮廓则用黑色或红色绘制。在这种绘画中，粉笔绝对不能与阴影的黑色或红色粉笔接触，纸张的半色调应该始终位于它们之间。

White chalk is sometimes used on toned paper to draw the lights, the paper serving as a half tone while the shadows and outlines are drawn in black or red. In this kind of drawing the chalk should never be allowed to come in contact with the black or red chalk of the shadows, the half tone of the paper should always be between them.

对于摩擦工作来说，白色粉笔比出售的用于绘图的普通白色粉笔更好，因为它没有那么硬。第 43 页上复制了用这种方法用白色粉笔和红色粉笔绘制的图画，第 260 页上复制了用硬白色粉笔绘制的图画。

For rubbed work white pastel is better than the ordinary white chalk sold for drawing, as it is not so hard. A drawing done in this method with white pastel and red chalk is reproduced on page 43, and one with the hard white chalk, on page 260.

这是研究窗帘的常用方法，当绘制像窗帘布置这样不稳定的主题时，能够极快地表达光和阴影的位置非常重要。

This is the method commonly used for making studies of drapery, the extreme rapidity with which the position of the lights and shadows can be expressed being of great importance when so unstable a subject as an arrangement of drapery is being drawn.

平版印刷作为一种艺术复制手段，由于被用于各种非艺术贸易用途，在公众的声誉上受到了很大的损害。它确实是复制艺术家实际作品的最美妙的手段之一，在大多数情况下，结果与原作如此相同，以至于如果将原画放在纸上，则几乎无法区分任何差异。当然，就像蚀刻一样，印刷品才是真正的原件。最初的工作只是作为生产这些的一种手段而完成的。

Lithography as a means of artistic reproduction has suffered much in public esteem by being put to all manner of inartistic trade uses. It is really one of the most wonderful means of reproducing an artist’s actual work, the result being, in most cases, so identical with the original that, seen together, if the original drawing has been done on paper, it is almost impossible to distinguish any difference. And of course, as in etching, it is the prints that are really the originals. The initial work is only done as a means of producing these.

绘图是在平版石上绘制的，即一块表面几乎完全光滑的石灰石。使用的粉笔是一种特殊的油性粉笔，有多种硬度和柔软度。无法擦掉，但可以用小刀刮掉线条，或者用小刀在其上画白线，使部分变浅。这些最初的石画可以有很大的自由度和多样性。粉笔可以用少量水擦拭，就像水彩蛋糕一样，然后用刷子涂抹。各种色调都可以用粉笔的侧面来制作。

A drawing is made on a lithographic stone, that is, a piece of limestone that has been prepared with an almost perfectly smooth surface. The chalk used is a special kind of a greasy nature, and is made in several degrees of hardness and softness. No rubbing out is possible, but lines can be scratched out with a knife, or parts made lighter by white lines being drawn by a knife over them. A great range of freedom and variety is possible in these initial drawings on stone. The chalk can be rubbed up with a little water, like a cake of water-colour, and applied with a brush. And every variety of tone can be made with the side of the chalk.

应注意不要让温暖的手指接触石头，否则可能会留下油腻的痕迹。

Some care should be taken not to let the warm finger touch the stone, or it may make a greasy mark that will print.

当最初的绘画完成后，最常用的方法是用阿拉伯树胶和少量硝酸的溶液处理石头。干燥后，用水尽可能洗掉口香糖；一些口香糖残留在多孔石头中，但在绘画的油腻线条和色调出现的地方被拒绝了。现在可以通过用墨辊卷起石头来获得印刷品。该油墨由煮沸的亚麻籽油和任何市售的平版印刷颜色的清漆组成。

When this initial drawing is done to the artist’s satisfaction, the most usual method is to treat the stone with a solution of gum-arabic and a little nitric acid. After this is dry, the gum is washed off as far as may be with water; some of the gum is left in the porous stone, but it is rejected where the greasy lines and tones of the drawing come. Prints may now be obtained by rolling up the stone with an inked roller. The ink is composed of a varnish of boiled linseed oil and any of the lithographic colours to be commercially obtained.

墨水不会沾在潮湿的涂胶石头上，而只会出现在平版粉笔留下油腻痕迹的地方，这样，当一张纸放在石头上并将整个石头放在石头上时，就可以获得石头上绘画的完美复制品。通过媒体。

The ink does not take on the damp gummed stone, but only where the lithographic chalk has made a greasy mark, so that a perfect facsimile of the drawing on stone is obtained, when a sheet of paper is placed on the stone and the whole put through the press.

这种媒介应该比现在更受制图师的欢迎，因为无法设计出更完美的复制手段。

The medium deserves to be much more popular with draughtsmen than it is, as no more perfect means of reproduction could be devised.

平版石处理起来相当麻烦，但最初的绘图可以在纸上完成，然后转移到石上。在线条作品的情况下，结果几乎是相同的，但如果沉迷于大量的音调和粉笔的演奏，石头要好得多。为此目的，制作了不同质地的平版纸，但几乎任何纸张都可以，只要用特殊的平版粉笔完成绘图即可。

The lithographic stone is rather a cumbersome thing to handle, but the initial drawing can be done on paper and afterwards transferred to the stone. In the case of line work the result is practically identical, but where much tone and playing about with the chalk is indulged in, the stone is much better. Lithographic papers of different textures are made for this purpose, but almost any paper will do, provided the drawing is done with the special lithographic chalk.

钢笔和墨水是向许多古代大师（尤其是伦勃朗）学习的最喜欢的方式。他经常用水洗来增强效果，用最简单的涂鸦传达奇妙的建议。但对于年轻的学生来说，希望在学习中做很多事情是一种困难的媒介，尽管对于训练眼睛和手以快速明确地表达印象来说，还有很多可说的。不可能拥抱半色调，必须将事物简化为清晰的黑暗的陈述——这将是对许多学生在工作中主要看到半色调的倾向的有用纠正。

Pen and ink was a favourite means of making studies with many old masters, notably Rembrandt. Often heightening the effect with a wash, he conveyed marvellous suggestions with the simplest scribbles. But it is a difficult medium for the young student to hope to do much with in his studies, although for training the eye and hand to quick definite statement of impressions, there is much to be said for it. No hugging of half tones is possible, things must be reduced to a statement of clear darks—which would be a useful corrective to the tendency so many students have of seeing chiefly the half tones in their work.

板LVI

Plate LVI

照片 吉拉登

Photo Giraudon

鲁本斯《狩猎野猪》中的笔墨和水墨研究

（卢浮宫）

STUDY IN PEN AND INK AND WASH FOR TREE IN “THE BOAR HUNT”

RUBENS (LOUVRE)

使用的笔类型取决于您想要绘制的绘图类型。钢笔有无数的品种，从细的乌鸦羽毛笔到粗的“J”形笔尖。天然乌鸦羽毛笔是一种比钢笔更具同情心的工具，尽管它的线条不太确定。但从中可以得到更多的乐趣和多样性，当需要免费的钢笔画时，这是更好的选择。

The kind of pen used will depend on the kind of drawing you wish to make. In steel pens there are innumerable varieties, from the fine crow-quills to the thick “ J ” nibs. The natural crow-quill is a much more sympathetic tool than a steel pen, although not quite so certain in its line. But more play and variety is to be got out of it, and when a free pen drawing is wanted it is preferable.

还制作了芦苇笔，当需要粗线时非常有用。有时它们下面有一个钢弹簧，以与某些钢笔相同的方式固定墨水。

Reed pens are also made, and are useful when thick lines are wanted. They sometimes have a steel spring underneath to hold the ink somewhat in the same manner as some fountain pens.

甚至还有一支玻璃笔，由一个尖锐的玻璃锥体组成，玻璃锥体上有凹槽一直延伸到尖端。墨水被保留在这些凹槽中，并在使用笔时自由地流下并沉积。用它只能绘制一种粗细的线，但可以在任何方向上绘制，这比大多数其他形状都有优势。

There is even a glass pen, consisting of a sharp-pointed cone of glass with grooves running down to the point. The ink is held in these grooves, and runs down and is deposited freely as the pen is used. A line of only one thickness can be drawn with it, but this can be drawn in any direction, an advantage over most other shapes.

蚀刻是一种复制过程，其中包括用钢尖在打蜡的铜或锌板上进行绘制，然后将其放入稀释的硝酸浴中以咬合线条。板在浴中停留的时间越长，线条就会变得更深、更暗，因此，当光线足够强时，通过用清漆遮盖光线来获得厚度的变化，并让较暗的光线有更长的时间暴露在酸中。

Etching is a process of reproduction that consists in drawing with a steel point on a waxed plate of copper or zinc, and then putting it in a bath of diluted nitric acid to bite in the lines. The longer the plate remains in the bath the deeper and darker the lines become, so that variety in thickness is got by stopping out with a varnish the light lines when they are sufficiently strong, and letting the darker ones have a longer exposure to the acid.

用这种简单的方法就完成了许多奇妙而美丽的事情。印刷包括在印版上全面上墨并擦拭，直到只有线条保留任何墨水，然后将印版放入印刷机中并进行压印。或者，在印版上需要着色的某些地方可能会留下一些少量的墨水，并且可能会从线条本身上弄脏一些墨水，以使它们具有更柔和的质量。事实上，聪明的蚀刻印刷商会采用无数的技巧来提高印刷质量。

Many wonderful and beautiful things have been done with this simple means. The printing consists in inking the plate all over and wiping off until only the lines retain any ink, when the plate is put in a press and an impression taken. Or some slight amount of ink may be left on the plate in certain places where a tint is wanted, and a little may be smudged out of the lines themselves to give them a softer quality. In fact there are no end of tricks a clever etching printer will adopt to give quality to his print.

市场上供艺术家使用的纸张种类数不胜数，这里无需多言，只是纸张的质地会对您的绘画产生相当大的影响。但要尝试各种类型的纸张，以找到适合您想要表达的特定事物的纸张。我特意购买我看到的每一张新纸，而新纸通常会刺激绘画中的一些新质量。避免使用木浆纸，因为它们在一段时间后会变黑。亚麻抹布是优质纸张的唯一安全物质，艺术家们现在在 OW 纸张中拥有一个大系列，他们可以信赖这些纸张仅由亚麻制成。

The varieties of paper on the market at the service of the artist are innumerable, and nothing need be said here except that the texture of your paper will have a considerable influence on your drawing. But try every sort of paper so as to find what suits the particular things you want to express. I make a point of buying every new paper I see, and a new paper is often a stimulant to some new quality in drawing. Avoid the wood-pulp papers, as they turn dark after a time. Linen rag is the only safe substance for good papers, and artists now have in the O.W. papers a large series that they can rely on being made of linen only.

有时，当你绘制的主题不需要明确的强硬路线，但需要更多的同情心时，建议在你正在绘制的主题下面放一叠纸，钉在画板上。 。这为您提供了一个更具同情心的工作表面，并提高了您的工作质量。在重新绘制您不太满意的研究时，最好使用一张薄纸，将其钉在第一个研究上，以便可以看清它。通过这种方式，人们可以从上次停下的地方开始。这种描述的优质论文现已上市。我喜欢它们被称为“钞票”纸。

It is sometimes advisable, when you are not drawing a subject that demands a clear hard line, but where more sympathetic qualities are wanted, to have a wad of several sheets of paper under the one you are working on, pinned on the drawing-board. This gives you a more sympathetic surface to work upon and improves the quality of your work. In redrawing a study with which you are not quite satisfied, it is a good plan to use a thin paper, pinning it over the first study so that it can be seen through. One can by this means start as it were from the point where one left off. Good papers of this description are now on the market. I fancy they are called “ bank-note ” papers.